CRAFT PRACTICES AS SOFT COLLABORATION: THE RELATIONAL ETHICS OF MAKING AND DOING.

From our shared interest in the philosophical implications of craft practices, this article is grounded on a workshop we developed around making and doing for philoSOPHIA 2024, in which we invited philosophers and other scholars to work with clay while contact mics amplified and called attention to...

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Publicado en:Symposium: Canadian Journal of Continental Philosophy / Revue Canadienne de Philosophie Continentale Vol. 29; no. 1; pp. 93 - 121
Autores principales: Skeard, Edith, Mudde, Anna
Formato: Artículo
Publicado: Canadian Society for Continental Philosophy Spring2025
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Acceso en línea:Ver este registro en EBSCOhost
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          Skeard, Edith
          Mudde, Anna
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          University of Victoria
          Campion College, University of Regina
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        Philosophers
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        From our shared interest in the philosophical implications of craft practices, this article is grounded on a workshop we developed around making and doing for philoSOPHIA 2024, in which we invited philosophers and other scholars to work with clay while contact mics amplified and called attention to the sounds of their working. In our workshop, we sought to ask whether "intangible culture" is, in fact, ungraspable, as its name suggests, or whether its work is being done in quiet and overlooked places of habit. In this article, we discuss how affordances shape our perceptual fields and how amplification--in this case, the amplification of otherwise unattended- to sound--is a possible tool in undermining these coded assumptions. We propose that what is considered intangible is actually what we call "soft collaboration"--the unintentional but relationally consequential ways individuals operate in the world.
        À partir de notre intérêt commun pour les implications philosophiques des pratiques artisanales, cet article invoque un atelier que nous avons développé autour du « making and doing » pour philo- SOPHIA 2024, au cours duquel nous avons invité des philosophes et d'autres chercheurs et chercheuses à travailler avec de l'argile tandis que des micros de contact amplifiaient et attiraient l'attention sur les sons de leur travail. Dans notre atelier, nous nous sommes demandé(e)s si la « culture immatérielle » est réellement insaisissable, comme son nom l'indique, ou si plutôt son oeuvre s'accomplit dans des lieux ordinairement silencieux et négligés. Dans cet article, nous discutons de la manière dont les facilités (« affordances ») façonnent nos champs de perception et comment l'amplification -- dans ce cas, l'amplification de sons autrement ignorés -- peut servir d'outil pour atteindre et mettre en question ces hypothèses codées. Nous proposons que ce que l'on estime intangible est en réalité ce que nous appelons la « collaboration douce » -- les façons non intentionnelles mais relationnellement conséquentes dont les individus fonctionnent dans le monde.
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