Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision Next revisionBoth sides next revision | ||
resilients:debrouillardise_et_coquetterie [2012-05-28 15:41] – 109.129.75.193 | resilients:debrouillardise_et_coquetterie [2012-06-03 20:46] – 109.129.58.244 | ||
---|---|---|---|
Line 13: | Line 13: | ||
I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | I am further interested to generate contexts for creative re-enactments and playful re-interpretation of those resilient practices in our contemporary context, through workshops bringing together elderly and kids/ | ||
- | |||
- | |||
Line 21: | Line 19: | ||
- | - **History**, | + | - **History**, |
http:// | http:// | ||
Line 36: | Line 34: | ||
http:// | http:// | ||
- | - Experimental | + | - Experimental |
-Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage. | -Fieldwork practices are being “recombined” to explore their utility in the recirculation of given knowledge in a relevant manner by the very activity of the exploratory bricolage. | ||
Line 42: | Line 40: | ||
-Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | -Bricolage of fieldwork in which concepts, methods, techniques from various fields of art (scenography, | ||
** | ** | ||
- | °Anthropology of tranmission | + | °Anthropology of Transmission |
Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains. | Transmission is a topic of crucial importance for anthropologists. However few are the studies which make transmission their focal point, a subject for and in itself. In this paper I show how cases of transmission haunt the very foundations of our discipline and how they lie at the back of such notions as memory, re-invention and continuity. I conclude by asking how we can study ethnographically the fleeting reality that is the act of transmission. David Berliner – Anthropologie des Mondes Contemporains. | ||
Line 49: | Line 47: | ||
** | ** | ||
- | ° Anthropology of cloth | + | ° Anthropology of cloth / Costume History |
** | ** | ||
Line 61: | Line 59: | ||
°My own ‘bricolage’ : **In search of an incarnated practice of anthropology : a Poetical Ethnography inspired by the gestures, tools and strategies of Textile Conservation, | °My own ‘bricolage’ : **In search of an incarnated practice of anthropology : a Poetical Ethnography inspired by the gestures, tools and strategies of Textile Conservation, | ||
- | Out of my desire to collect stories as precious fabrics…. | + | Out of my desire to collect stories |
+ | |||
+ | The most important thing that my journey through textile conservation brought me is a deepening of the understanding of the ethical dimension of my practice, throughout the whole process of the fieldwork (from the encounter to the collecting of the story - of the constitution of a living archive of stories - to the transmission of the past story and their transformation by younger generations) | ||
+ | |||
+ | |||
+ | **METHODOLOGY / EXPERIENTIAL PART** : (in construction) | ||
+ | |||
+ | - Phenomenology of the encounter (cf fieldwork) | ||
+ | |||
+ | - Assessment of the relational complexity induced by the dynamics of the gift/ | ||
+ | |||
+ | - Design spaces/ | ||
+ | |||
+ | |||
+ | [[Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation|Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation]] | ||
+ | |||
+ | PROCESS | ||
+ | |||
+ | |||
+ | 1. **DOCUMENTING** the research topic | ||
+ | |||
+ | Fields of interests : | ||
+ | |||
+ | **Débrouillardise** | ||
+ | |||
+ | | ||
+ | |||
+ | Repertory of | ||
+ | - Governmental decrees / rationing tickets | ||
+ | -civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, or finding strategies to circumvent the regulations | ||
+ | - punishments in case of contravening the regulations on clothes (procès verbaux) | ||
+ | |||
+ | |||
+ | **Coquetterie** | ||
+ | |||
+ | dignity – history of the bodies that is sensitive to a memory of emotions and affect (from proudness to shame, the hiding of precariousness) – costume as overstatement/ | ||
+ | |||
+ | ** | ||
+ | Resilience** | ||
+ | |||
+ | Moral, social and cultural resilience | ||
+ | |||
+ | serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) , | ||
+ | |||
+ | development of capacities allowing for the psychic transformation of human suffering : in the playfull act of recycling/ | ||
+ | |||
+ | Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’. | ||
+ | |||
+ | |||
+ | 1.1. consultation of specialized literature, articles and archives | ||
+ | |||
+ | [[contacted archive centers for resilient WWII textiles|contacted archive centers for resilient WWII textiles]] | ||
+ | |||
+ | 1.2. consultation of experts: | ||
+ | |||
+ | **Irène Guenther** | ||
+ | – Specialist in modern German cultural and gender history | ||
+ | http:// | ||
+ | ivguenth@central.uh.edu | ||
+ | « Nazi ‘Chic’? Fashioning Women in the Third Reich » | ||
+ | current research on the trench postcard art of German soldiers | ||
+ | |||
+ | **Jonathan Walford** | ||
+ | Founder and Curatorial Director of Fashion History Museum of Canada, Writer | ||
+ | http:// | ||
+ | wrote « Fourties Fashion, from Siren Suits to the New Look », 2011 | ||
+ | http:// | ||
+ | |||
+ | **Dominique Veillon** | ||
+ | |||
+ | « La mode sous l’occupation », 1990, éditions Payot. | ||
+ | http:// | ||
+ | "Vivre et survivre en France 1939 - 1947", ed Payot, 1995 | ||
+ | interesting review: http:// | ||
+ | |||
+ | Hannelore Vandebroek, Nel de Mûelenaere, | ||
+ | cf ETUDE : | ||
+ | http:// | ||
+ | |||
+ | Le travail des femmes dans la fabrique d' | ||
+ | |||
+ | Cette recherche analyse le travail des femmes dans l' | ||
+ | |||
+ | [[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]] | ||
+ | |||
+ | [[Communities of Resilients // from the perspective of Clothing as a resistance strategy|Communities of Resilients // from the perspective of Clothing as a resistance strategy]] | ||
+ | |||
+ | |||
+ | **FIELDWORK** | ||
+ | |||
+ | Senior centers interested in participation : | ||
+ | -Résidence Arcadia (elderly house Molebeek/ | ||
+ | -LDC Randstad (social restaurant for Seniors, Molenbeek) | ||
+ | -the Institut Pachéco (elderly house in 1000 Brussels), | ||
+ | -‘Ages et Transmissions’: | ||
+ | -‘La Mémoire Vivante’ : http:// | ||
+ | |||
+ | |||
+ | The first interviews: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | -[[Interview Débrouillardise et Coquetterie: | ||
+ | |||
+ | |||
+ | Observations / | ||
+ | (in process) | ||
+ | |||
+ | 4.CASE STUDIES :: intergenerational workshops | ||
+ | (in construction) | ||
+ | |||
+ | |||
+ | TOWARD A LIVING ARCHIVE | ||
+ | Search for critical/ | ||
+ | |||
+ | Philosophy | ||
+ | |||
+ | Michel Foucault « The Archeology of Knowledge » : Chapter 5: The Historical a priori and the Archive | ||
+ | |||
+ | Discursive practices involve systems that allow statements to emerge as ' | ||
+ | |||
+ | Paul Ricoeur « Arcives, Documents, Traces » | ||
+ | http:// | ||
+ | |||
+ | “Any trace left by the past becomes a document for historians […], the most valuable traces are the ones that were not intended for our information.” (2006: 67) | ||
+ | |||
+ | Giorgio Agamben « The Archive and the Testimony » in « Remnants of Auschwit », 1989 | ||
+ | http:// | ||
+ | “the archive is situated between langue, as the system of construction of possible sentences – that is, of possibilities of speaking – and the corpus that unites the set of what has been said, the things actually uttered or written.” | ||
+ | |||
+ | |||
+ | |||
+ | Archive Practices in Contemporary Art | ||
+ | |||
+ | General writings : | ||
+ | |||
+ | Schaffner, Ingrid et Matthias Winzen (éditeurs). 1998. Deep storage: collecting, storing, and archiving in art. Munich ; New York : Prestel, 303 p. | ||
+ | Mokhtari Sylvie (éditeur). 2004. Les Artistes contemporains et l' | ||
+ | |||
+ | Dans Archive Fever Enwezor | ||
+ | principale de vérité historique » | ||
+ | Aby M. Warburg, «Mnemosyne-Atlas», | ||
+ | http:// | ||
+ | |||
+ | Gerhard Richter, « Atlas », 1962 | ||
+ | http:// | ||