Sarah Rojon | Universite Jean Monnet - Saint-Etienne (original) (raw)
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En marge des espaces attractifs de la ville, s’évertuant à capter les flux touristiques, subsiste... more En marge des espaces attractifs de la ville, s’évertuant à capter les flux touristiques, subsistent des zones non-visitables. Si les médiations numériques tendent à maintenir – voir à accentuer – un tel ordonnancement psycho-spatial, il n’empêche que des usagers ordinaires contribuent à mettre en scène et à rendre visible cette part de délaissé urbain que constituent les friches industrielles. Nous abordons ici le cas de photographes amateurs habitant l’agglomération stéphanoise. Ces acteurs sociaux se connectent les uns aux autres non seulement du fait de références culturelles communes, mais aussi de leurs pratiques particulières du territoire et des interfaces numériques ; ils sont guidés par des expériences sensibles et émotionnelles susceptibles d’être partagées en ligne. Finalement, l’article propose une réflexion sur des régimes d’attention liés à des modes d’exploration urbaine et de navigation sur Internet, et vise à montrer en quoi ces activités en ligne et hors ligne peuvent, en synergie, susciter des dynamiques patrimoniales dans le contexte de la ville post-industrielle.
On the outskirts of the attractive areas of the city, striving to capture tourist flows, remain non-visitable areas. Despite the fact that digital mediations tend to maintain – and even accentuate – such psycho-spatial ordering, ordinary users contribute to the staging and visibility of abandoned urban spaces constituted by industrial wastelands. In this article we consider the case of amateur photographers living in the conurbation of Saint Etienne. These social actors connect to one other not only through common cultural references, but also through their practices of the territory and of digital interfaces. They are guided by sensitive and emotional experiences that can be shared online. Lastly, the article reflects on modes of attention related to types of urban exploration and Internet browsing, and aims to show how these online and offline activities may synergistically generate heritage dynamics in the context of the post-industrial city.
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History is not anymore the prerogative of historians, nor is displaying heritage the exclusive pr... more History is not anymore the prerogative of historians, nor is displaying heritage the exclusive privilege of museum curators. In the digital era, local interconnected amateurs commit themselves to the cultural circuit of heritage through the mediation of globalised images. In that circuit, heritage and social memory take a particular form: as resources for tourism and trade, but also resources for collective action, social engagement and cultural production. “Ordinary people” engage in playful leisure such as genealogy, local history, photography, walking, exploring, surfing on the Internet, self-publishing, etc. As do-it-yourself hobbies associating offline and online practices, these hedonist activities, which blend production and consumption, creation and transmission, tend to redraw heritage communities. What do they tell us about the change of commodity, space and time? What do they tell us about the contemporary process of heritagisation and the role of people as well as the place of institutions in it? We focus on the shifts induced by the emergence of empowered actors, the “prosumers,” who participate in various networks, institutional as well as non-institutional, combining amateurs and professionals. Their collaborative experiences lead to design spaces of inspirational actions that we highlight in the context of two post-industrial areas, Swansea (UK) and Saint-Etienne (France).
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Many pictures circulating online inform industrial legacies by mapping, aestheticizing or documen... more Many pictures circulating online inform industrial legacies by mapping, aestheticizing or documenting contemporary ruin landscapes, such as brownfields and other remnants of industry. This phenomenon seems to mark a turning point in the history of heritage, for marginal interests spread and tend to become popular hobbies. Nevertheless, the practices of display implemented by Internet users show various perspectives connected with offline experiences. They may reveal conflicts of perception and narrative, but also alternative ways of seeing how to preserve precarious places without following the path of museumification. From an inductive approach, this article explores how digital photographs sharing leads to recognize and increase the value of (post)industrial inheritance, engendering innovative tactics of preservation through networking. The method used is based on a “multimodal ethnography”, taking into account the diversity and the intertwining of modes expressed through a range of different media.
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Since 2003, the Duchère quarter has been the subject of a major city project among fifty national... more Since 2003, the Duchère quarter has been the subject of a major city project among fifty national sites classified as “sensitive urban zones”. Based on a programme of demolition and rebuilding, the plan seeks to reduce the part apportioned to social housing and diversify the property offer within these marginalized areas, in order to encourage “social diversity” therein. If urban renovation presupposes the introduction of a novel mode of habitat and leads to the fabrication of a new category of inhabitants, how is the living environment to be recomposed in such a context of change ? Despite the political intention of struggle against processes of exclusion affecting populations living on the city’s fringes, in a perspective that is as much synchronic as diachronic, our understanding of the local context of La Duchère has allowed us to reveal the reconstitution of symbolic borders through complex forms of reinterpretation and resistance. This article intends to show how anthropological expertise can contribute to clarifying or anticipating potentially conflictual situations, particularly with the urban project’s implementation.
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Books by Sarah Rojon
Editions de la maison des sciences de l'homme, Collection Ethnologie de la France et des mondes contemporains, 2019
Cet ouvrage collectif vient à un moment où l’activité patrimoniale a largement débordé ses instit... more Cet ouvrage collectif vient à un moment où l’activité patrimoniale a largement débordé ses institutions officielles et où sa couverture par les sciences humaines et sociales a pris une consistance certaine. En dix textes et au moins autant de situations, en France, à Rhodes, à Tonga, en Uruguay et en Colombie, il donne à saisir des « implications anthropologiques » de et dans l’exploration de cette activité, à partir desquelles se dessinerait un fil conducteur permettant de parcourir, sans la réduire, sa grande hétérogénéité.
Qu’on la prenne sous l’angle de l’irruption du patrimoine dans les terrains (de jeu) des anthropologues ou bien sous celui de la constitution du patrimoine en un domaine singulier de recherche, l’anthropologie du patrimoine apparaît inséparable des interrogations récurrentes sur la catégorie de culture : sur son institution, sur sa mise en scène, sur sa spectacularisation, sur les façons de l’écrire comme sur la critique de son pouvoir de purification, de hiérarchisation ou de domination.
Que montrent ces écritures anthropologiques de patrimoines ? Qu’en se frottant aux expériences du passé, de la culture, religieuse ou profane, de la quête de reconnaissance, de la mémoire des violences de guerre, de la discrimination sociale, de la ruine des choses du monde, les anthropologues font l’expérience du patrimoine, instrument politique aux multiples fonctions : contrôle, aménagement, restauration, réparation, reconnaissance…
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En marge des espaces attractifs de la ville, s’évertuant à capter les flux touristiques, subsiste... more En marge des espaces attractifs de la ville, s’évertuant à capter les flux touristiques, subsistent des zones non-visitables. Si les médiations numériques tendent à maintenir – voir à accentuer – un tel ordonnancement psycho-spatial, il n’empêche que des usagers ordinaires contribuent à mettre en scène et à rendre visible cette part de délaissé urbain que constituent les friches industrielles. Nous abordons ici le cas de photographes amateurs habitant l’agglomération stéphanoise. Ces acteurs sociaux se connectent les uns aux autres non seulement du fait de références culturelles communes, mais aussi de leurs pratiques particulières du territoire et des interfaces numériques ; ils sont guidés par des expériences sensibles et émotionnelles susceptibles d’être partagées en ligne. Finalement, l’article propose une réflexion sur des régimes d’attention liés à des modes d’exploration urbaine et de navigation sur Internet, et vise à montrer en quoi ces activités en ligne et hors ligne peuvent, en synergie, susciter des dynamiques patrimoniales dans le contexte de la ville post-industrielle.
On the outskirts of the attractive areas of the city, striving to capture tourist flows, remain non-visitable areas. Despite the fact that digital mediations tend to maintain – and even accentuate – such psycho-spatial ordering, ordinary users contribute to the staging and visibility of abandoned urban spaces constituted by industrial wastelands. In this article we consider the case of amateur photographers living in the conurbation of Saint Etienne. These social actors connect to one other not only through common cultural references, but also through their practices of the territory and of digital interfaces. They are guided by sensitive and emotional experiences that can be shared online. Lastly, the article reflects on modes of attention related to types of urban exploration and Internet browsing, and aims to show how these online and offline activities may synergistically generate heritage dynamics in the context of the post-industrial city.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
History is not anymore the prerogative of historians, nor is displaying heritage the exclusive pr... more History is not anymore the prerogative of historians, nor is displaying heritage the exclusive privilege of museum curators. In the digital era, local interconnected amateurs commit themselves to the cultural circuit of heritage through the mediation of globalised images. In that circuit, heritage and social memory take a particular form: as resources for tourism and trade, but also resources for collective action, social engagement and cultural production. “Ordinary people” engage in playful leisure such as genealogy, local history, photography, walking, exploring, surfing on the Internet, self-publishing, etc. As do-it-yourself hobbies associating offline and online practices, these hedonist activities, which blend production and consumption, creation and transmission, tend to redraw heritage communities. What do they tell us about the change of commodity, space and time? What do they tell us about the contemporary process of heritagisation and the role of people as well as the place of institutions in it? We focus on the shifts induced by the emergence of empowered actors, the “prosumers,” who participate in various networks, institutional as well as non-institutional, combining amateurs and professionals. Their collaborative experiences lead to design spaces of inspirational actions that we highlight in the context of two post-industrial areas, Swansea (UK) and Saint-Etienne (France).
Bookmarks Related papers MentionsView impact
Many pictures circulating online inform industrial legacies by mapping, aestheticizing or documen... more Many pictures circulating online inform industrial legacies by mapping, aestheticizing or documenting contemporary ruin landscapes, such as brownfields and other remnants of industry. This phenomenon seems to mark a turning point in the history of heritage, for marginal interests spread and tend to become popular hobbies. Nevertheless, the practices of display implemented by Internet users show various perspectives connected with offline experiences. They may reveal conflicts of perception and narrative, but also alternative ways of seeing how to preserve precarious places without following the path of museumification. From an inductive approach, this article explores how digital photographs sharing leads to recognize and increase the value of (post)industrial inheritance, engendering innovative tactics of preservation through networking. The method used is based on a “multimodal ethnography”, taking into account the diversity and the intertwining of modes expressed through a range of different media.
Bookmarks Related papers MentionsView impact
Since 2003, the Duchère quarter has been the subject of a major city project among fifty national... more Since 2003, the Duchère quarter has been the subject of a major city project among fifty national sites classified as “sensitive urban zones”. Based on a programme of demolition and rebuilding, the plan seeks to reduce the part apportioned to social housing and diversify the property offer within these marginalized areas, in order to encourage “social diversity” therein. If urban renovation presupposes the introduction of a novel mode of habitat and leads to the fabrication of a new category of inhabitants, how is the living environment to be recomposed in such a context of change ? Despite the political intention of struggle against processes of exclusion affecting populations living on the city’s fringes, in a perspective that is as much synchronic as diachronic, our understanding of the local context of La Duchère has allowed us to reveal the reconstitution of symbolic borders through complex forms of reinterpretation and resistance. This article intends to show how anthropological expertise can contribute to clarifying or anticipating potentially conflictual situations, particularly with the urban project’s implementation.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Editions de la maison des sciences de l'homme, Collection Ethnologie de la France et des mondes contemporains, 2019
Cet ouvrage collectif vient à un moment où l’activité patrimoniale a largement débordé ses instit... more Cet ouvrage collectif vient à un moment où l’activité patrimoniale a largement débordé ses institutions officielles et où sa couverture par les sciences humaines et sociales a pris une consistance certaine. En dix textes et au moins autant de situations, en France, à Rhodes, à Tonga, en Uruguay et en Colombie, il donne à saisir des « implications anthropologiques » de et dans l’exploration de cette activité, à partir desquelles se dessinerait un fil conducteur permettant de parcourir, sans la réduire, sa grande hétérogénéité.
Qu’on la prenne sous l’angle de l’irruption du patrimoine dans les terrains (de jeu) des anthropologues ou bien sous celui de la constitution du patrimoine en un domaine singulier de recherche, l’anthropologie du patrimoine apparaît inséparable des interrogations récurrentes sur la catégorie de culture : sur son institution, sur sa mise en scène, sur sa spectacularisation, sur les façons de l’écrire comme sur la critique de son pouvoir de purification, de hiérarchisation ou de domination.
Que montrent ces écritures anthropologiques de patrimoines ? Qu’en se frottant aux expériences du passé, de la culture, religieuse ou profane, de la quête de reconnaissance, de la mémoire des violences de guerre, de la discrimination sociale, de la ruine des choses du monde, les anthropologues font l’expérience du patrimoine, instrument politique aux multiples fonctions : contrôle, aménagement, restauration, réparation, reconnaissance…
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