Troubling dissemination : experimentations with the salon as conference event

Salons became popular in Europe in 17th Century as sites of philosophic and literary conversation. A group of female academics interested in Deleuzian theories experimented with the salon to challenge presentation and dissemination norms that hierarchize and centralize the human. For Deleuze and Guattari (1987), assemblages are shifting and decentering, so how might assemblages of chairs, tables, bodies, lights, space, help to trouble thinking about the methodological conventions around academic disseminations? The authors discuss the salon as a critical-cultural site: Cumming presents Deleuze and play-dough, an exploration of how the playful dissemination format of the salon prompted a re-reading of a methodological vignette from earlier research. Knight, an arts-based researcher, uses video art as a creative methodology to examine conceptualizations of rhizomes and assemblages at the salon as a dissemination site. The authors conclude that the salon, as a critical, cultural site disrupts hierarchized ways of approaching and presenting research.

Ateljeevaatteen valmistuksen työtavat Salon Kaarlo Forsmanin tuotannossa

The objective of the present study was to increase knowledge about the atelier culture of recent history, especially about the ways in which atelier clothes were made. I look at the ways of dress-making in the production of a renowned atelier, Salon Kaarlo Forsman. I also give a general outline of the atelier. The studying method I used was triangulation, which is a typical approach in case studies of recent history. My data include 23 dresses by the Salon Forsman, theme interviews of four of the Salon workers and one mannequin, data from my research work, as well as press material and archives. The basis of the analysis of these materials was a theme frame that I had put together with the help of pre-understanding. I then completed and defined the theme frame on the basis of the analysis of the data. I also analyzed the dresses in the fashion photos in the press material. Salon Kaarlo Forsman represents a certain cultural period, the years 1937-1986, and a place where a woman could have individual clothes made for her, from hats to fur coats. The atelier was particularly known for embroidery with beads, draping, and fantastic cuttings designed by the owner, fashion designer Kaarlo Forsman. I draw an outline of the work and practices of the atelier, but also that of Kaarlo Forsman’s life work, as he had a great influence on the sewing methods atelier clothes. Mr. Forsman was able to stretch the first period of modern fashion well into the third period by refusing new, labor-saving methods and sticking to individually designer clothes to the end of his enterprise. The crucial practices in the atelier that I present in this study are fitting, designing, finishing and sewing, as well as beading and the decoration of dresses. I compare the activity, practices and dress-making methods in the Forsman atelier to that of Haute Couture in Paris, which served as model for Finnish fashion houses. I point out the similarities and differences.

Salon with door open to garden; Mosse family residence; Berlin Architecture; Residences; Interior

Digital Image

Eighteenth century style salon; Steinharter residence; Munich Architecture; Residences; Interior

Digital Image

Eighteenth century style salon; Steinharter residence; Munich Architecture; Residences; Interior

Digital Image

Eighteenth century style salon; Steinharter residence; Munich Architecture; Residences; Interior

Digital Image

Spank performance tour [at Betsey's Salon of Interdisciplinary Arts]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

Simulaatiopeli menetelmänä siirtää ikääntyvien hiljaista tietoa. Case: Salon Seudun Osuuspankki

Tutkimuksen tavoitteena oli selvittää, miten simulaatiopeli soveltuu ikääntyvien työntekijöiden hiljaisen tiedon esille tuomiseen ja tiedon siirtämiseen. case - tapauksena tutkimuksessa käytettiin Salon Seudun Osuuspankissapelattua simulaatiopeliä ja tutkimustulokset perustuvat peliin osallistuneiden ko. pankin työntekijöiden näkemyksiin ja mielipiteisiin. Tutkimuksessa selvitettiin miten osallistujat kokevat simulaatiopelin tilanteena, mitkä ovat simulaatiopelin heikkoudet ja vahvuudet hiljaisen tiedon siirrossa sekä millä tavalla simulaatiopeliä tulisi käyttää siirrettäessä hiljaista tietoa. Lisäksi selvitettiin mitä hiljainen tieto pankkityössä on. Tutkimus toteutettiin teemahaastatteluin marraskuussa 2004. Tutkimuksen tuloksena selvisi, että simulaatiopeliä ei nähdä kovin käyttökelpoisena, itsenäisenä hiljaisen tiedon siirron menetelmänä. Merkittävimpinä syinä tähän on simulaatiopelin keinotekoisuus, epäaitous sekä tilanteen jännittävyys. Simulaatiopelin vahvuudeksi hiljaisen tiedon siirrossa koetaan sen erinomainen havainnollistava voima. Simulaatiopeliä voitaisiinkin kokeilla apuna hiljaisen tiedon siirrossa osana pidempää tiedon siirron prosessia.

Le Salon : feuilleton quotidien paraissant tous les soirs pendant les deux mois de l'exposition : causerie, critique générale, bruits et nouvelles du jour par Zacharie Astruc

1863/05/18 (N15).

Le Salon : feuilleton quotidien paraissant tous les soirs pendant les deux mois de l'exposition : causerie, critique générale, bruits et nouvelles du jour par Zacharie Astruc

1863/05/08 (N7).

Le Salon : feuilleton quotidien paraissant tous les soirs pendant les deux mois de l'exposition : causerie, critique générale, bruits et nouvelles du jour par Zacharie Astruc

1863/05/17 (N14).

Le Salon : feuilleton quotidien paraissant tous les soirs pendant les deux mois de l'exposition : causerie, critique générale, bruits et nouvelles du jour par Zacharie Astruc

1863/05/05 (N4).