This is the final week for Diana Taylor's The Archive and The Repertoire. Either finish the book or find an interesting section. The next Skype discussion will be:
So, since I emailed these comments to Amber she told me to post them here... good idea, but as you'll see my comments are interspersed with some personal things that I'm just going to leave in.
I've been slowly reading the Diana Taylor - very slowly, though, since I'm really trying to concentrate on getting this essay [on Hannah Höch] done. And I'm waiting for a new pair of glasses to arrive in the mail which should help me see to read much better.... maybe they'll come today? So, I'm only in the first chapter, but so far I think the book is really interesting, especially in terms of the bread project that Amber is doing and that I get to do with her in Darmstadt next week. So much about this project will be performance, or performative. It will exist as a repertoire! The other thing that is really great for me is that in several readings now I've come across Pierre Bourdieu's idea of habitus, and now realize that we'll be reading about this in the book by him you've chosen! I'm really looking forward to that.
And since I'm writing I guess I'll also say that in writing about Hannah Höch's scrapbook (or album as they are now calling it here in Germany since the word scrapbook doesn't exist in German), I have been thinking about the lack of text and so Taylor's writings about embodiment rather than text as the main area of interpretation. This is interesting since I've often thought about how Höch created her scrapbook on a kind of metaphorical 'body' of woman - she used two issues of 'Die Dame,' the woman's fashion magazine she was associated with in the 1920s. Are the images there a kind of performance of how a woman like Höch looked at the illustrated picture press?
Melissa, I have also found the premise of this book to help me think about my projects. I have read the introduction twice while working on very different project, one about the plant the city of Chicago was named after, and now heading to Germany to work on the Kneead project (with you). Both times her way to talking about the difference between the archive and repertoire have been quite helpful.
2 comments:
So, since I emailed these comments to Amber she told me to post them here... good idea, but as you'll see my comments are interspersed with some personal things that I'm just going to leave in.
I've been slowly reading the Diana Taylor - very slowly, though, since I'm really trying to concentrate on getting this essay [on Hannah Höch] done. And I'm waiting for a new pair of glasses to arrive in the mail which should help me see to read much better.... maybe they'll come today? So, I'm only in the first chapter, but so far I think the book is really interesting, especially in terms of the bread project that Amber is doing and that I get to do with her in Darmstadt next week. So much about this project will be performance, or performative. It will exist as a repertoire! The other thing that is really great for me is that in several readings now I've come across Pierre Bourdieu's idea of habitus, and now realize that we'll be reading about this
in the book by him you've chosen! I'm really looking forward to that.
And since I'm writing I guess I'll also say that in writing about Hannah Höch's scrapbook (or album as they are now calling it here in Germany since the word scrapbook doesn't exist in German), I have been thinking about the lack of text and so Taylor's writings about embodiment rather than text as the main area of interpretation. This is interesting since I've often thought about how Höch created her scrapbook on a kind of metaphorical 'body' of woman - she used two issues of 'Die Dame,' the woman's fashion magazine she was associated with in the 1920s. Are the images there a kind of performance of how a woman like Höch looked at the illustrated picture press?
Melissa,
I have also found the premise of this book to help me think about my projects. I have read the introduction twice while working on very different project, one about the plant the city of Chicago was named after, and now heading to Germany to work on the Kneead project (with you). Both times her way to talking about the difference between the archive and repertoire have been quite helpful.
Amber
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