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Vernacular earthen architecture presents a series of relevant conservation challenges that involve designing solutions for different kinds of alterations and degradations. Other challenges of a social nature simultaneously arise and are related, among other factors, to the participation of local communities and the actions of different institutional actors. Understanding these phenomena has generally been approached from perspectives that take technical considerations and social dynamics as separate fields. The current global context has resulted in an acceleration of changes in these dynamics, in terms of both techniques and management models, giving rise to the need to develop comprehensive conceptual and methodological approaches through which these challenges should be addressed jointly by recombining the technical and the social.This paper will analyse the main problems affecting vernacular architectures in three communities in northern Argentina, where earthen techniques have been very relevant. We will reflect on various potentially useful theoretical frameworks, incorporating concepts from the anthropology of technology and methodological approaches from an ethnography of conservation as a way to work with multiple ontologies.

Cet article vise à introduire le volet technique de l’anthropologie de la couleur que l’on peut formuler des travaux d’André Leroi-Gourhan. À partir de l’étude des idées que l’auteur développe dans Évolution et techniques (1943 et 1945), nous verrons que, pour Leroi-Gourhan, la couleur n’est ni un phénomène, ni une sensation psychophysiologique. La couleur est d’abord une matière qui se fabrique et qui s’inscrit à l’intérieur de différentes « techniques de fabrication » que produisent les sociétés. Leroi-Gourhan inscrit l’ethnographie de la couleur à l’intérieur de la culture matérielle et, par ce geste, déplace l’anthropologie de la couleur de l’anthropologie cognitive vers l’anthropologie des techniques. Nous montrerons que ce déplacement produit une bifurcation épistémologique à l’intérieur du champ de l’ethnographie de la couleur. This paper aims to introduce the technical aspects of the anthropology of color that can be derived from the work of André Leroi-Gourhan. In studying ideas that the author develops in Évolution et techniques (1943 and 1945), we see that, for him, color is not a phenomenon nor a psychophysiological sensation. Color is first a matter that had to be produced and which fits inside different “techniques of production” made by societes. Leroi-Gourhan inscribed ethnography of color within the material culture studies and in doing so, he moved anthropology of color from cognitive anthropology to the anthropology of techniques. We will show that this shift produces an epistemological bifurcation within the field of ethnography of color.

International audience; There are numerous bridges between technology and prehistoric archaeology. The author will illustrate them herein by reference to three major figures who marked 150 years of history from the middle of the XIXth century to today. The first, Augustus Lane Fox Pitt Rivers, can be seen as a forerunner even if the second, Leroi-Gourhan, does not seem to have read his work or, at least, does not cite him in his own writing. Conversely, François Sigaut, the third main figure of our itinerary both read his work and was responsible for him being discovered in France at the end of the 1980s when he was still unknown, as it were.

Se référant à une tradition de l’anthropologie technique qui confère le même statut aux deux faces du travail (effort et produit, labeur et œuvre), l’auteur montre qu’il est possible de renouveler l’exploration de la question de l’économique. À cette fin, elle utilise les matériaux recueillis au cours d’une étude monographique menée dans une grande entreprise de télécommunications. Dans un premier temps, elle aborde les formes d’économie spontanée déployées dans l’activité. Et, dans un deuxième temps, elle traite du discours indigène sur l’économie « des économistes », abondamment mobilisée par le discours managérial. The wage-earning relationship has served as a prism through which the sociology of labour has traditionally dealt with the economic sphere. As a consequence, a dichotomy has cropped up between this sphere (encompassing “hierarchical logics”) and the social one (with its informal groups and autonomous means of regulation). By referring to the anthropology of techniques, which assigns the same status to both aspects –effort and product, labour and output– of work, the question of the relation between these two spheres can be re-explored. Data collected during a case study conducted in a big telecommunications firm are used to do this. Forms of the “spontaneous economy” of human activities are discussed by examining how customers (who are increasingly taken into account) can be characterized by using a “logic” adapted to the type of activity. Thereafter, attention is focused on the “native discourse” (oft used in managerial circles) about the “economy of economists”. Two stances are identified: distant adherence, which tends to naturalize the economy, and “intellectual withdrawal”, which tends to see the economy as a social construction.

Le concept d’un « dispositif d’objets » présent dans le Portrait d’un marchand (v. 1530) de Jan Gossart et le Portrait du marchand Georg Gisze (1532) d’Hans Holbein le Jeune a pour objectif de porter un regard nouveau sur des œuvres trop souvent réduites à des notions d’esthétisme et de symbolisme. En utilisant une approche pluridisciplinaire à notre analyse, nous voulons promouvoir les objets comme acteur dominant dans la mise en scène de l’identité sociale du marchand au 16e siècle. L’association entre histoire de l’art et anthropologie des techniques permet la validation d’une scénographie de la culture matérielle marchande, ainsi que le dégagement d’un commentaire social inhérent à la proposition artistique de Gossart et Holbein. L’intérêt d’une étude orientée sur les objets promet également l’ouverture d’une réflexion sur la manière de concevoir le portrait d’occupation indépendamment de la valeur anagogique qui lui est généralement associée à la Renaissance. Le Portrait d’un marchand et le Portrait du marchand Georg Gisze attestent d’un moment ponctuel dans la production spatio-temporelle des portraits de marchands en Europe du Nord au 16e siècle. L’analogie confondante qui unit les deux œuvres prend son essence dans la thématique visuelle engendrée par le « dispositif d’objets »., The concept of an object system, as found in Jan Gossart’s Portrait of a Merchant (ca. 1530) and Hans Holbein the Younger’s Georg Gisze (1532) aims to reevaluate works which are too often reduced to aesthetics and symbolism. By means of a multidisciplinary approach, the study aims to promote the objects represented in the paintings as the dominant actors in the staging of the social identity of the sixteenth-century merchant. The association between art history and anthropology of techniques allows the validation of a scenography of the material merchant culture, as well as the emergence of a social commentary inherent to Gossart’s and Holbein’s artistic work. Attention to an object-oriented study also allows for new insights into how to understand the occupational portrait independently of an anagogical value, which is generally attributed to the Renaissance period. The Portrait of a Merchant and portrait of Georg Gisze attest to a specific moment in the production of merchant portraits in northern Europe during the sixteenth century. The apparently disparate works are united by the object system represented in the paintings.

Le Pôle France rassemble une sélection de futurs rugbymen professionnels pour une année d’entraînement intensif. Cet article propose une étude de cas autour de deux « instruments » intégrés à la formation des pensionnaires du Pôle France : un robot, et l’image vidéo. L’observation de l’utilisation du simulateur de mêlée amène à analyser la mise en scène du geste technique en situation d’entraînement. La manière dont la vidéo est intégrée au quotidien de la formation pose la question du rôle de l’image dans l’apprentissage, tel qu’il est conçu par les entraîneurs, et reçu par les joueurs. Dans les deux cas est explorée une communauté hybride homme-machine aux modalités particulières, au service de la formation technique sportive de haut niveau. The Pôle France brings together a selection of future professional rugby players for an intensive training year. This article presents a case study on two "instruments" used during trainings: robots, and video recordings. The scrum simulator is used to analyze how rugby players’ technical gesture is staged during trainings. The way video recordings are integrated into daily training raises the question of the role of images in the learning process as developped and taught by coaches, and learned by players. In both cases, a man-human hybrid community is described as part of the high performance sport technics training.

This article is focused on the potential of technological analysis of material culture understood as an eminently social practice. This perspective allows us to incorporate all the information derived from the analysis of technical gestures with other concepts such as the technological know-how of the group, learning processes, socially constructed technological practices, etc. Thus, these concepts permit to establish methodological strategies from technological analysis that go beyond pure technical gestures. Furthermore, this procedure allows us to go into the set of daily social praxis that are developed in the production and use of objects which are significantly involved in the construction of the social arena of the communities. As a case study of this proposal we cited diferents examples of the handmade production of pottery., En este artículo se defiende el potencial del análisis tecnológico concebido como práctica eminentemente social. Esta perspectiva combina la información derivada de los análisis de las acciones y gestos técnicos con otros conceptos como el savoir faire tecnológico del grupo, los procesos de aprendizaje, las prácticas tecnológicas socialmente constituidas, etc. Esta estrategia metodológica permite adentrarse en el conjunto de praxis sociales que se van generando en el día a día de la fabricación y uso de los objetos e intervienen, de manera significativa, en la construcción de la arena social de las comunidades. Como caso de estudio de esta propuesta se citan ejemplos de la producción de la cerámica a mano.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES Despite the archaeological potential present in Sergipe region, being the representative the site Justino located in the area of Xingó the valley of São Francisco, there are few studies regarding the pre-history of the state. Therewith new projects are in progress and one of them it is the archaeological survey of the basin the River Vaza Barris, where from it there was identification of the site Colonia Miranda, located in the city of Sao Cristovao, Sergipe state. Therewith this dissertation will work with the archeology of the gestures that searches through a structural analysis, based on of the anthropology of techniques possible technological aspects of the groups the past that occupied the region. Based on concepts like operating chain, total man, motor behaviors and habitus, this work will infer the relationship about the gesture and the influence of cultural tradition for the incorporation of techniques in the production stage and functioning. Apesar da potencialidade arqueológica presente na região de Sergipe, tendo como principal representante o sítio Justino, localizado na área da UHE de Xingó no vale do São Francisco, ainda há poucos estudos referente a pré-história do estado. Com isso novos projetos estão em andamento e um deles trata-se do levantamento arqueológico da Bacia do Rio Vaza Barris, onde a partir dele houve a identificação do sítio Colônia Miranda, localizado no município de São Cristovão, estado de Sergipe. A partir daí a presente dissertação irá trabalhar com a arqueologia dos gestos, que busca através de uma análise estrutural, baseada na antropologia das técnicas, possíveis aspectos tecnológicos dos grupos pretéritos que ocuparam a região. Tendo por base conceitos como cadeia operatória, homem total, condutas motoras e habitus, o presente trabalho irá inferir sobre a relação do gesto e a influência da tradição cultural para a incorporação das técnicas na etapa de produção e funcionamento dos instrumentos.

Neste artigo, propomos uma reflexão acerca da etnografia, tendo como foco a aprendizagem e o engajamento do pesquisador nas práticas que pesquisa. Partindo das discussões sobre este tema na etnomusicologia e na antropologia da técnica, traçamos um diálogo entre as pesquisas de campo dos autores sobre repentistas na região Nordeste e pescadores na Amazônia. A partir de então são pensadas as implicações da inserção do antropólogo na atividade etnografada, vista não como um fim em si mesmo, mas como estratégia privilegiada para acessar conhecimentos e valores tácitos e irrefletidos, perceber as hierarquias entre diversos tipos de relações envolvidas no desempenho de uma atividade e analisar suas formas peculiares de aprendizagem. A comparação entre as etnografias da cantoria e da pesca não é trazida aqui para defender o privilégio epistemológico generalizado da prática, do corpo ou da experiência, em detrimento das estruturas, do discurso ou do pensamento. A própria comparação entre os engajamentos numa atividade eminentemente verbal e noutras que envolvem sobretudo habilidades perceptivo- -motoras já nos distancia deste recorte. O engajamento é tomado aqui não como afirmação de princípio, mas como uma postura etnográfica maleável, capaz de favorecer a adequação entre as questões antropológicas e os regimes de abordagem empírica em situações particulares. This article proposes a reflection on “ethnography”, focusing on the researcher’s learning of and engagement with research practices. Starting from discussions of this theme in ethnomusicology and in the anthropology of techniques, we trace a dialogue across the research fields of the authors among repentistas in the Brazilian Northeast and fishermen in Amazonia. Through this dialogue, we reflect on the implications of the anthropologist’s insertion in ethnographic activity, which is not seen to be an end in itself, but a privileged means for accessing knowledge and tacit values, perceiving hierarchies among the diverse types of relations involved in the execution of an activity and analyzing peculiar forms of learning. The comparison between ethnographies of singing and fishing is not intended to affirm the epistemological privilege of practice, the body or experience over structures, discourse or thought. The very nature of the comparison, rooted in the engagements of an activity that is eminently verbal and another that mostly involves perceptive and motor abilities, distances our aim from this approach. Engagement is here understood not as a general principle, but as a malleable ethnographic posture, capable of adequately favouring the accomodation of anthropological questions and empirical regimes in specific situations.

International audience

This article is focused on the potential of technological analysis of material culture understood as an eminently social practice. This perspective allows us to incorporate all the information derived from the analysis of technical gestures with other concepts such as the technological know-how of the group, learning processes, socially constructed technological practices, etc. Thus, these concepts permit to establish methodological strategies from technological analysis that go beyond pure technical gestures. Furthermore, this procedure allows us to go into the set of daily social praxis that are developed in the production and use of objects which are significantly involved in the construction of the social arena of the communities. As a case study of this proposal we cited diferents examples of the handmade production of pottery. En este artículo se defiende el potencial del análisis tecnológico concebido como práctica eminentemente social. Esta perspectiva combina la información derivada de los análisis de las acciones y gestos técnicos con otros conceptos como el savoir faire tecnológico del grupo, los procesos de aprendizaje, las prácticas tecnológicas socialmente constituidas, etc. Esta estrategia metodológica permite adentrarse en el conjunto de praxis sociales que se van generando en el día a día de la fabricación y uso de los objetos e intervienen, de manera significativa, en la construcción de la arena social de las comunidades. Como caso de estudio de esta propuesta se citan ejemplos de la producción de la cerámica a mano.

Décrire des objets hybrides. Les grandes ignames décorées du village de Nyamikum, district de Maprik, province de l’Est Sepik, Papouasie-Nouvelle-Guinée. Dans ce court article, Ludovic Coupaye présente de manière synthétique un usage élargi de la notion de chaîne opératoire appliquée à un objet original, les grandes ignames décorées de la province du Sépik occidental, en Papouasie Nouvelle Guinée. L’objectif principal est d’illustrer quelques-uns des éléments théoriques et méthodologiques issus des approches francophones et anglophones de l’anthropologie de l’art et de la culture matérielle. Il commence par démontrer comment, par la méthodologie de la chaîne opératoire, il devient possible de comprendre le rôle multivalent d’images d’ancêtres, de monnaies cérémonielles et de nourriture des tubercules décorés. Puis il relie brièvement les éléments mis au jour par la méthodologie à des concepts récents utilisés dans l’anthropologie de la culture matérielle et de l’anthropologie de la Mélanésie, tels que la matérialité, la notion d’objet hybrides ou encore l’agency de l’art. How to Describe Hybrid Objects. Large Inams Decorated with the Nyamikum Village, District of Maprik, Province of the East Sepik, Papouasie- News-Guinea. In this brief paper, Coupaye presents his utilisation of the notion of chaîne opératoire (operational sequence) in an extended way, to analyse the decorated long yams of the East sepik Province in Papua New Guinea. The aim is to illustrate some of the theoretical and methodological elements used in Francophones and Anglophones anthropology of art and material culture. Coupaye starts by demonstrating how, by using the chaîne opératoire, it is possible to understand the multivalent role of decorated tubers as ancestors images, valuables and food. Then he relates the elements revelead by such methodology to recent concepts used in anthropology of material culture and Mélanésian ethnography, such as materiality, the notion of « hybrid objets », or agency of art.