Articulating Stitch: skilful hand-stitching as personal, social and cultural experience
Articulating Stitch: skilful hand-stitching as personal, social and cultural experience
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铰接缝制：熟练的手工缝制作为个人、社会和文化体验
DOI：
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发表时间：
2015
期刊：
影响因子：
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通讯作者：
E. Shercliff
中科院分区：
文献类型：
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作者：
E. Shercliff
这项以实践为主导的博士研究探索了通过手工缝制过程的节奏和模式获得和实践的具体知识的性质，如刺绣，平缝和拼布绗缝，由个人进行
单独或在专门的团体中作为娱乐工艺、艺术表达和社交生活。手工缝制的规模和速度与身体相匹配，在有形的过程中建立认知和情感体验。手-眼-心的协调需要培养一种独特的关注自我的形式，这在反
屏幕技术的触觉体验渗透到我们在家庭和工作场所的日常生活中。工作的前提下，熟练的手工缝制关注的技术能力，我研究这些活动如何表达主观经验的维度。反过来，我探索个人和群体之间的关系是通过他们的手工艺技能构建的方式。
我以前的纺织手工艺作为一种社会活动的经验吸引了我这个问题，我作为一个从业者和教师的兴趣，在当代和未来的相关性熟练的工作激励我更好地了解它是什么，我和许多其他缝合从业者，做。作为一名从业者，我知道如何缝纫，从我对纺织艺术、工艺和物质文化的历史和理论的研究中，我知道了缝纫。然而，我的观点是，
在这个过程中，其他更直接和个人的感觉接管。探索与这些过程相关的触觉感觉是调查的基础，我专注于实际技能，身体及其与工具，材料和其他人的接近之间的动态关系，在实际的制作体验中-重复的手势，协调的手部动作和熟练的工具使用精度和指尖操作-提供一个新的背景下，体现已知的知识和通过手工缝合的研究。
为了探索这一点，我使用了民族志，auto-ethnographic和创造性的研究方法，包括采访，观察，视频记录的拼布绗缝组，参与实际缝纫会议与村刺绣组，开展研讨会与学生，和我自己的反思缝合实践。
研究表明，手工缝制过程的模式与参与者寻求的某些社会互动模式具有共同特征，以体验参与感，归属感或相互依存感。与其他口头传统类似，实践的具体知识包括互动模式以及与实践技能不可分割的特定态度和行为。
然而，人们也会自己缝制;作为一种私人的、独立的活动，手工缝制允许一个人为内省留出时间和空间。虽然这可以被认为是一种完全不同的体验，但我认为掌握这些技能可以控制何时以及如何使用它们，我发现，这允许从业者调整所寻求的体验类型：参与共同的对话或活动可以换取孤立的沉思和自力更生的感觉。
我的结论是，手工缝制超越了它的技术或艺术属性时，被视为一种物质的做法，提供了特定的隐喻，为其他过程的加入，合作，完整性-甚至分离和隔离。实践这些技能可能是获得这种具体知识的唯一途径，如果它不仅仅是平凡的，作为古怪的，作为家务劳动或存档为人种学好奇心或艺术对象，那么它需要被理解为一种互动模式。
This practice-led PhD research explores the nature of embodied knowledge acquired and practised through the rhythms and patterns of hand-stitching processes, such as embroidery, plain sewing and patchwork quilting, undertaken by individuals
alone and in dedicated groups as recreational craft, artistic expression and social life. The scale and pace of hand-stitching match those of the body, grounding cognitive and emotional experience in a tangible process. The hand-eye-mind coordination required cultivates a distinctive form of attention to the self, which has renewed importance in the context of the anti-
haptic experiences of screen technologies that infiltrate our daily routines in the home and the workplace. Working with the premise that skilled hand-stitching concerns more than technical ability, I examine how these activities articulate dimensions of subjective experience. In turn, I explore ways in which the relationship between an individual and a group is constructed through their crafting skills.
My previous experiences of textile crafting as a social activity drew me to this question, and my interest as a practitioner and teacher in the contemporary and future relevance of skilful work motivates me to better understand what it is that I, and many other stitch practitioners, do. With the tacit knowledge of a practitioner I know how to stitch, and from my investigations into the history and theory of textile art, craft and material culture I know about stitch. However, my view is that when absorbed
in the process of making other more immediate and personal sensations take over. An exploration of haptic sensations relative to these processes underpins the investigation, and I focus instead on the dynamic relationship between practical skill, the body and its proximity to tools, materials and other people during actual experiences of making – the repeated gestures, coordinated hand movements and the skilled precision of tool use and fingertip manipulation – to provide a new context for the study of embodied knowledge known in and through hand-stitching.
In order to explore this I have used a combination of ethnographic, auto-ethnographic and creative research methods including interviews, observation, video recording of a patchwork quilting group, participation in practical stitching sessions with a village embroidery group, undertaking workshops with students, and my own reflective stitching practice.
It has emerged from the research that patterns of hand-stitching processes share characteristics with certain modes of social interaction sought by participants in order to experience sensations of participation, belonging or interdependence. Similarly to other oral traditions, an embodied knowledge of the practice includes patterns of interaction and particular attitudes and behaviours that are inseparable from the practical skills.
However, people also stitch on their own; as a private, contemplative activity, hand-stitching allows a person to carve out time and space for introspective reflection. Whilst this could be thought of as a different kind of experience altogether, I suggest that mastery of these skills enables control over when and how to use them, which, I have found, allows a practitioner to adjust the type of experience sought: participation in a shared conversation or activity can be exchanged for isolated contemplation and a sense of self-reliance.
I conclude that hand-stitching surpasses its technical or artistic attributes when considered as a material practice that offers particular metaphors for other processes of joining, collaboration, integrity – or even separation and isolation. Practising these skills is possibly the only way to acquire this embodied knowledge, which needs to be understood as a mode of interaction if it is not merely trivialised as quaint, as domestic labour or archived as ethnographic curiosity or as art object.