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Botticello,Julie(2016)Fromdocumentationtodialogue:exploringnew‘routestoknowledge’throughdigitalimagemaking,VisualStudies,31:4,310-323http://www.tandfonline.com/doi/full/10.1080/1472586X.2016.1246351Fromdocumentationtodialogue:exploringnew‘routestoknowledge’throughdigitalimagemakingThisarticleconsidersthemediatingroleofdigitalphotographyforelicitingembodiedanddialogicalprocessesofknowledgesharingandknowledgemakinginthecourseofethnographicfieldwork.BasedonresearchinthelastremainingLeaversLacefactoryinEngland,thearticledetailsexamplesofhowthevisualislinkedwiththeaural,gestural,performativeanddiscursiveinattemptingtorevealknow-howandunderstandingaroundmachinemadelace.Thearticleshowsthatinspiteofmultisensoryengagements,bothknowledgetransmissionandknowledgeuptakeremainpartial.However,throughmultisensorymeanstocommunicateandcomprehend,researcherandparticipantscreatenewwaysofunderstanding,relatingandrepresentingthepracticeunderstudy.IntroductionTheaimofthisarticleistoupsetthetraditionalnotionofphotographyasan‘embalmeroftime’(Bazin1967,14,citedin;Murray2008,151)andanobjectiveandauthoritativeformofdocumentation.Rather,itarguesformultipleandpartialperspectivesonhowtounderstandtheentireprocessofsituating,communicating,taking,understanding,andrepresentingthroughdigitalimagescreatedinthecourseofanthropologicalethnographicfieldwork.Theshiftisawayfromdiscussionsonthedominanceofasingular,privilegedvisionoftheethnographer,tothemorecomplexinterplayinvolvedinknowledgemakingandinformationtransfer,inwhichcontent,context,relationshipandreflexivityareallimplicated.Foregroundedhereistherelationalitynecessaryfortheimagestobeproduced,basedonknowledgeandmeaningasemergentinthecontextssurroundingandincludingimageproduction.Thedigitalimagehasaparticularplaceinthisspecificallyatthepointofimagecreation,astheimmediacyoftheimageproducedalignswiththemomentandcontextofitscreation,andispartofthat‘indeterminacy’(Pinney2002,82;Star1996,303)ofknowledgeandmeaningmakingaspartofarelationalprocess.Thereductionintemporaldistancingbetweenimagemakingandimagesharingcreatestransparencyandimmediacyintherelationshipbetweenparticipantandresearcherthatextendstherelationalityevidentintheencounterofanaloguephotography.Inarguingthisstanceaboutthedialogicalproductionofimages,throughreferencetocontextsofcreationaswellasactualoranticipatedaudiences,thisarticlecontributestocurrentscholarlyresearch(Bell2003;Edwards2003,2005;Herle2009;PeersandBrown2009;Woodward2008;Wright2009)onthemediatingroleofphotography,amidotherformsofmultisensoryconnection,andthedialogicelementofknowledgesharing.Background–NottinghamlacemanufactureandClunyLace

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ThisresearchwasundertakenforNottinghamTrentUniversity,throughafundedAHRC/EPSRC‘ScienceandHeritage’programme:‘NottinghamLace:Capturingandrepresentingknowledgeinpeople,machinesanddocuments’.Theprojectfocusedonhistoriclacemaking–LeaversLace–andontryingtograsp,capture,preserveandrepresentthe‘intangibleheritage’andvariousknowledgebasesthatgointoitsproduction.Whilemechanised,theknowledgetomakeLeaversLaceisvariouslyembodiedinpeople,embeddedinmachineryandencodedindocuments.NottinghamandtheEastMidlandshavealonghistoryoflaceandhosierymaking,datingbackseveralhundredyears.Duringtheindustrialrevolution,laceandhosierymakingweremainstayindustriesintheEastMidlands,whereseveralfirmshousedover26000lacemachines.Today,thissameareahousesjust16machinesandthesearelocatedinasinglefactory,ClunyLace,inDerbyshire.ClunyLaceisafamilyownedbusiness,whoseinvolvementinlaceproductioninthispartofEnglandcanbetracedbackforatleastninegenerations(personalcommunication,CharlesMason,8/8/2013).Throughtheearlyandmiddlepartsofthetwentiethcentury,ClunyLacekeptpacewiththeirBritishcompetitors,firmssuchasBirkin,byaddingtotheirmechanisedrepertoirewithmodernandfastermachinery.Asthetwentiethcenturyworeon,however,themanufacturingindustryinBritainsubstantiallydeclinedandthemanufacturingbaseshiftedfromBritaintoEastandSoutheastAsia,whereitremainstoday.RecognisingthatClunyLacecouldnotcompeteinthismarketonprice,in1999,managingdirectorCharlesMasondecidedtoprogressivelysellofftheirmodernlacemachinery,andfocustheirbusinessmodelonanolderformoflaceproduction,LeaversLace.Industrycompetitors,suchasBirkin,whoreliedonlargecommissionsfrombigUKdepartmentstoresforunderwearandhouseholdlace,couldnotmaintaintheirdomesticbusinesseswhentheirregularbuyersaimedtoreducetheirowncostsbybuyinglacemanufacturedoverseas.Tradingontradition,qualityandEnglishness,ClunyLacemaintainsitsplace,albeitprecariously,withjust20staff,includingmanagement,intheglobalmarketplacebymarketingitslaceforelitebuyers,withrecentnotablecommissionsforCatherine,theDuchessofCambridge’sweddingdressin2011,andforinclusioninBurberry’scollectionsfrom2013.Aprocessdevisedduringtheindustrialrevolution,LeaversLace(namedafterJohnLeaverswhoinventedthemachineintheearly1800s)imitateshandmade.Itismadeonmachinesthatmechanicallytwisttwosetsofthreadsintoanetstructure.LeaversLacemanufactureismuchmorelabourintensivethanmodernmachinelacemanufacture.AmodernlaceRaschel‘knitter’mightoverseeupto10machinesatonce,whereasaLeaversLace‘twisthand’couldmanageuptotwomachinesatmost,duetotheconstantattentionrequiredtokeepthemachinesrunningamidthreadbreakages,beamandcarriagereplacement,tensionmanagementandpatternimplementation.Asonelacemakerhumblyrevealswhenmovingfrombeingaknittertoatwisthand:

It’snotsomethingthatyoucanjustwalkintoandupinfiveminutes;beniceifyoucould!Itisaskill.WhenIfirstcameonthisside[fromRaschelknitting],Charlessaid,itisaskilledtrade,notjust[a]plodon.Itisaskill,theweightingofthebeams,bars,everythingelse.(MJ,26March2013)

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AtCluny,onetwisthandoperatesonemachineatatime,withsupportfromotherskillspecificworkers,whoreplenishthematerialsconsumedinproductionorundertakemendingandfinishingoncecompleted.Whilethismakeslaceproductionintoafactory-widecollaboration,theskillofproductioncoalescesintheworkandknow-howofthetwisthand.MostofthetwisthandsatClunyhavespent50yearsintheLeaversLaceindustry,manyhavingworkedforCluny’scompetitorsbeforefindingworkatCluny,asthefirmthathasoutlivedallothersinEngland.Whileapproachingoreveninretirement,workersarekeentocontinueusingtheirspecialisedskills.BecauseoftheuncertaintyinthemanufacturingclimateintheUnitedKingdom,CharlesMasonrefusestotakeonanyyoungapprenticestothetrade,sotheworkershavenodirect‘heirs’topasstheirknowledgeontobeforeretiring.Thus,theeconomicrationaleaboutcurrentviabilityoftheindustryisatoddswiththeculturalrationaleofknowledgetransmissionforfutureproduction.MethodologyTheresearchwasfactory-andwork-based,operatingonaphenomenologicalprinciplethatwork-basedknowledgeisbestunderstoodwhentheactualworkisbeingundertaken.‘Whereastheorythinkstheworld’,inaphenomenologyofpractice,‘practicegraspstheworld’through‘relational,situational,corporeal,temporal[and]actional’(vonManen2007,20)means.Themethodologicalapproachofchaîneopératoireisalsoinsightful.Atitssimplest,chaîneopératoiredenotesthesequenceofproduction(Martinón-Torres2002,31;Schangler2005,25),articulatingeachstageandplacingitinanorder.However,asimportantly,chaîneopératoirealsoconnotesanapproach,aninterpretivemethodologyinwhichaccountsaretakenofthe‘materialpatterningoftechnicalactsandthesociopoliticalrelationsofproductionaccountingforthem’(Martinón-Torres2002,33,citing;Dobres1999,124).Whilelacemakingderivesfromasequenceofactions,howtheseactionsareenacted,basedonparticularknowledgebases,differentiatesworkers’historiesandskills.Iexperiencedwhateachworkerdoes,andhowthatcontributesbothtotheongoingrunningofthemachinesasacyclicalprocessofwork,aswellastothelinearprocessofproducinglacetoleavethefactoryforsale.Althoughlaceproductionhasbeenstreamlinedinthefactoryasaroutinisedprocess,makinglacemanifestsamidthechallengesofthinkingthroughandworkingoutproblems,inevitableinanyactofmaking,butmoreoftenthannot,hiddenwhencontemplatingtheobjectofproductionasacompleteentity.Thefinalobjectcanbelie(c.f.Schangler2005)itsexistenceasthesumofmultipleinputs,fromdifferentminds,materialsandmodalities,whichhavecometogethertogeneratethisoutcome.TheimagesItookattempttodeconstructthefinalproductintoitsconstituentinputs.However,byfocusingonthesequence,Icamealsotounderstandthecomplexhuman–machine(andhuman–human)connectionsand‘interactions’(Star1996)takingplaceacrossthefactoryinthemakingprocess.Astheethnographer,Iusedamulti-facetedmethodology,includingtalkingtoworkersastheyworked,observingwhattheydid,tryingitmyself,recordingsemi-structuredinterviewswiththeminfrontoftheirmachines,aswellasusingphotographyandfilm(e.g.:TwisthandsattheDeadstop2013).Ialsoengagedinworkers’personalhistoriesoflacemaking,bylookingthroughworker’sownlacepatternalbums,watchingvideos

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fellowfactoryworkershadmade,andreadingpersonalnotes,poemsandstorieswrittenbylaceworkers,collectedthroughouttheirworkinglives.Thismethodologyrevealsthe‘integratedwebs’(Martinón-Torres2002,35),notonlyofdailyproductionandthesocialmilieuinwhichthisisembedded,butalsowithme,theethnographerenteringintotheirworkplaceandengaginginvisualandverbaldialoguestounderstandwhattheydo.Althoughalargequantityof‘capturing’equipment–notebooks,voicerecorder,stillcamera,motioncamera,tripod,variouslenses,batterypacks–accompaniedmetothefield,myfirstcoupleofmonthswerededicatedtogettingtoknowtheworkflowinthefactory,eachworker’sphysicalandchronologicalplaceinthatflow,howtheyfoundthemselvesinthelastLeaversLacefactoryinEnglandandwhatvastknowledgetheyhadnotonlyabouttheirownparticularskillset,butalsotheirco-workers’jobs,andtheindustrymoregenerally.Forthismethodology,Iparticipatedinthedailyrhythmofthefactorywork,oftentimesgettingabusfromNottinghamat6:30amtoarriveinDerbyshire,readyforworkby7:00am,inlinewiththeworkers.Attheoutset,thereremainedanunderlyingideainmymindandthatoftheresearchteamthatthroughfilmicandphotographicmedia,technique,processandskillwouldberevealedandoncevisuallydocumented,couldthenrepresentthesetoothers.Thisreflectstheobservationalapproachredolentofearlytwentiethcenturyanthropology,whichoperatedundertheassumptionthatto‘watchsomeoneistolearnsomethingaboutthem’andindoingsotogenerate‘knowledgethatcanbelateranalysedandconvertedintointellectualcapital’(Banks,2001,112).Duetothecomplexityoftheproductionprocessesandtheneedfortrainedeyestobeableto‘see’inanymeaningfulwayanyaspectsofwhatwas‘captured’,thevisualimagestakenandtheirchronologicalsequencearelessobjectivethanthis.Rathertheychartmyownlearningcurveanddawnofunderstandingonpraxis,inthedocumentationoftheembodiedandembeddedknowledgeandroutinisedprocessesofwork.Whatwascapturedwasnottheworkers’knowhow,buttheprocessofworkingoutwaysforthelacemakerstosharetheirknowledgeinsuchawaythatIcouldunderstandsomeofitanddocumentit.Stillandmovingdigitalimagesweretoolsthatfacilitatedthisconversation,enablingashiftfrommyignorance(Dilley2010,S179)towardsanunderstandingofapractice,ifnotactualskill,assufficientlygrasped;thiswasfurtherclarifiedthroughtheimmediacyofviewingandthroughfurtherexplanatorydialogue.VisualtheoreticalframeworkManycontemporarywritersonimagebasedandethnographicanalysesargueforamultiplyengagedapproachtotheproductionofimagesandtheirinterpretations(Banks,2001;Favero2014;Herle2009;Pinney2002;Pink2003,2007,2011,2012;Woodward2008).Banksarguesthat‘socialknowledgeisaprocessualaspectofhumansocialrelations’andthattoundertakesocialresearchwell,theresearchermustsubmitherselftoengagementandofknowledgemakingwithherparticipants(Banks2001,112).Thiswasoneofthemainpurposestotheresearch–howtounderstandtheworkers’know-how,sothatIcouldpassthisontoothers.Intheprocess,itwasnotjustmewatchingandlearningfromthem;theworkershadtolearnhowtotransmitsomeoftheirknowledgetome,whocouldthen,throughmyownunderstanding,begintorepresentittoothers.

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InherappraisalofLayard’simagesofMalakula,Herlecommentsthatthesearenotjustaproductoffieldwork,but‘arepartoftheprocessoffieldwork,summonedintoexistencebythecomplexintersubjectiverelationsbetweenLayardandhisinformantsandhosts’(Herle2009,241).Inasimilarway,thelaceworkersandIcollaboratedtoco-produceanewknowledgebase,onhowtocaptureandrepresentaspectsoftheirworkpracticewhichcouldbeunderstoodbynon-specialistothers.Thetwisthandswereatgreatpainstoshowmewhattoseeandtotellmehowcomplextheirworkwas,byreiteratingitsdifficultyintheirnarration.Havingbeenresearchedanumberoftimesbefore,forlocaldocumentaries(TheLacemakers,2013),byoralhistoriansfordepositinginlocalarchives,andbyhighstreetproducersusingClunyLaceintheircollections(Anon2015),someoftheworkerswereverywellversedincommunicatingwhattheydotodifferentaudiences.ThelacemakersandIengagedin‘multipleperspectivesandnegotiations’(Star1996,304)tocommunicateandcreateaffordancestounderstandandbeunderstood.Duetothedisparityincompetencyoverunderstandingtheirworkprocesses(theirsgreatandmineverylittle),thisknowledgetransferwaspartialinitsundertaking.However,asHarawayintervenes,allknowledgemakingispartialandrelational.Thisisnotaweakness,foritisintheintersticesofinquirythatunderstandingunfolds.Asshestates,inthe‘epistemologyofpartialperspectives[...]thepossibilityofsustained,rationalandobjectiveenquiryrests’(Haraway1998,194).Whilesuchtranslationsare‘alwaysinterpretative,criticalandpartial’(Haraway1998.197),itisinthispartialitythattheco-constructionofknowledgecanoccur.Lackofunderstandingmakestheprocessofinteractionadialecticalone;it‘guaranteespotentialknowledge’(Dilley2010,S177)asanoutcomeoftheinteractionandensuresthatneithertimenorprocessareembalmed(Bazin1967,14)butareundergoingconstantcreation.Theknowledgemakingprocesswasdependentuponeachofourabilitiestocommunicateandcomprehend,discursivelyandvisually.Forthelaceworkers,thiswasthroughwordsandinpracticalexplanationanddemonstration;forme,thiswasthroughmyquestions,mynotesandmyphotographs.AsJorgensen(2013,91)pointsoutthatwhiletherehasbeenarecentinterestintechnologyasanon-discursivepracticeofknowledgetransmission,shetakesissuewiththeimplicationthat‘tacit’knowledgedoesnotneedlanguageorliteracy,challengingtheassumptionthat‘technologyisnondiscursiveknowledge’(Jorgensen2013,91).Inresponsetomyquestionofhowhelearnedhistrade,onetwisthandreplied:

Mostofitwaswordofmouth,fromothertwisthandsthatyouwereputwith,whenyouareanapprentice.[...]Welearnedmostofwhatyoudoasatwisthandontheshopfloor.Allaspectsofthejob.Youpickupmostofitthere.[...]Soallthisbackgroundknowledge,itisnotwrittendown,itisallpassedbymouth’(IP,12April2013)

Thissuggeststhatthepassingonofinformationandknowledgedidindeedhaveadiscursiveaswellasademonstrativeaspecttoit.Followinginthistraditionofpassingon,inmyfieldworkonthefactoryfloor,weengagedinmultiplemeansoftransmission,includingdiscussion,demonstrationandvisualrepresentation–ashanddrawnpictures

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andasdigitalimages–tocommunicateandconfirmeachanother’sunderstanding(forme,oftheirworkprocessesandforthem,ofmegraspingtheirworkprocesses).Myenquiryintocapturingtheirknowledgethroughimagesandviadiscussioncanappearfullofhubrisaboutthepossibilitiestosee,understand,do,replicateandcommunicatetheskilledworkofothers.Itentailedamultiplestageprocessofacquiringandpassingon;forthem,howtorevealtheirpractice,andforme,howtounderstandsequenceandanticipateactionsin(re)constructing(MacDougall2005,4)thisrecordofourtransactionsinimagesandtextsystematicallyintoanorderofpractice.Therestofthisarticlewillexploreinmoredetailtherelationshipbetweenimagemaking,knowledgemaking,andmasterandnovice(inthiscase,ethnographer)inpassingonandtryingtoexplainembodiedknowing.Itwillalsorevealtherelationshipsdevelopedbetweenmyparticipantsandmyselfinthis.Whilemyrelationshipscouldnotbephotographeddirectly,asIwasbehindthecameraandtheywereinfrontofit,someoftheimagesgeneratedreveal,intheircontextualanalysis,anintimacybetweenresearcherandparticipant(Herle2009).Someofthisclosenessistechnical.Iuseda50mmlens,oftenwitha1.4apertureonaCanonSLRdigitalcamera.Whileenablingmetoworkinlowlight,itnecessitatedclosenesstothe‘subject’duetoalimiteddepthoffieldtocaptureandfocusonwhatIwasintending.Butthetechnicaldemandsofmyequipmentweresecondarytothenecessityofproximitytothelacemakersastheyworked,asregardlessofmetakingpictures,itwasthisrelationship,betweentheworkersandme,whichenabledacloseappreciationoftheirpractice.Mypartialperspectives,ofincompleteness,soonalsobecameapartialperspectiveofgainingalikingforandappreciationoftheirwork.Mostoftheimagesweretakeninexplicitcollaboration;whereIaskedthemtoslowtheirprocessesdownsothatIcouldcapturetheseinstills,stopframingtheworktounderstanditsparticularstages.Thisillustratessuccinctlyhowpartialityhereasattentiontotheincompleteleadsintotheinquiryofdiscursiveandinterpretativepractice.Thesesloweddownmovementsprecipitatedfurtherdialogueoverwhattheyweredoing,andtheirinterestinwhethertheworkwassuccessfullycapturedoncamera.Thecamerathen,whileinmyhands,becameamediumforthemtopassonthroughinstruction,andthroughitsvisualmanifestation,confirmithadbeenadequatelycaptured.Inrelatingthesetwoaspectsofdocumentationanddialogue,Iincludesnippetsfromfieldnotesaswellasselectedimagestobringintoplaythismethodologicalcollaboration.Intheethnographiccontextofitscreation,thedigitalimageisanimmediateoccurrence,whichbecomesapointofdiscussionatthemomentofitscreation.Byincludingthetextstogetherwiththeimages,Ihopetorecreatesomeofthedynamismthatwaspartofthefieldworkexperience.Bycontrast,inthisarticle,theimageshavenowbecomefixed,nolongerpartofadynamicprocessofproduction,andonceinthissituation,asBarthescomments,this‘makesitdifficulttospeakaboutphotography’(Barthes2000,6),asthecontentoftheimagestendstocommandattention.Myaim,however,istodrawattentiontophotography,asaprocessandproductofrelation,Fromdocumentationtodialogue313revealingcontextsofcreation,aswellasbeingabearerofcontentandmeaning(s).Tothisend,Iuseimagesastoolstorevealmymethodologyasbothself-directedandledbyothers,asethnographicchoices

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andlimitationsaboutcontentanddetail,asillustrationsofvisualtheoryinethnographicpractice,asnarrativesaboutproductionsequenceandalsoasimagestobeappreciatedimmediatelyandaesthetically(MacDougall2005).Thesemultiplepositioningssuggesthowimagescontinuallybuildontheirownrepertoireofsignificance(i.e.:PeersandBrown2009),dependentonwhoislooking.DIRECTEDSEEINGBanksstatesthatmostfieldworkersapproachphotographyintheirresearchwithsomeintentionofdocumentation,‘toremembertheexperience,toshowothershowthingslooked,torecordthingsthatweretoocomplextobedescribedinanotebook’(Banks,2001,114).Banks’finalpointismostrelevant,asgraspingthewayapatternisimplementedonthemachinethroughthreadingandmachineadjustmentwasimmersedinadepthofknowledgebeyondthescopeofanovicetounderstandinjustafewmonthsofcontact.Rather,atworst,myvoicerecordingsdocumenttheexplanationstheygaveme,butnotwhatIunderstoodfromthese.Itcanalsobearguedthatmyphotoscouldequallyleavemeignorant,asa‘blind’(MacDougall2005,3)shotofthemachineencompassedsomanypossiblepointstoconsider,Ilikelycapturedsomethingmeaningfulintheshot,butdidnotpossesssufficientunderstandingoftheseprocessestoseewhatwasbeingrepresented(Figure1).

FIGURE1.LeaversLacemachine.

Tohelpmeoutfromthisdifficulty,ofhearingbutnotunderstandingandlookingbutnotseeing,participantsattemptedtoshowmewheretolook,howtolook,whattosee,whattohear,whattounderstandandfurthermore,whattophotographsothatIcould‘see’and‘grasp’aspectsofwhattheyknow.Thenormativedefinitionoftheresearchrelationshipofan‘unconsciousinformant’beingscrutinisedbyamore‘informed’researcher,inwhichthe‘subjects[...]arenotthemselvesfullparticipants’(Suchman1995,61)isredefined‘whentheparticipantsdirectthephotographer’(Woodward2008,863),reversingnotionsofauthorityintheinvestigation.AsPinkremarks,how‘knowledgeisproducedduringtheresearch[is]theoutcomeoftherelationshipandnegotiationsbetweentheresearcherandinformantsratherthantheformer’sobjectiveobservationsofthelatter’(2003,182).Thelaceresearchextendsthismodel,notjustofnegotiatingimagetaking,butbeingspecificallyguidedinwhattolookatandhowto‘see’.

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Oneofthewaystheydidthiswasbytakingmethroughbasicprocesses.Thousandsofthreadsareusedinlaceproductionandtheseneedreplenishingatregularintervals,ideallybeforethethreadsrunoutcompletely.Atmanypointsthroughouttheday,thetwisthandwillswitchoffhismachine,andhewillbeatthebackofthemachine,tyinginnewthreadsfromreplenishedbeams.Whereverpossible,thetwisthanddoesnotletthreadsrunout;rather,currentthreadsbecometheguidesforthenewonestobebroughtthroughthemachine.Allbeamsarenotchangedatonce,butonlywhenunderthreatofrunningoutofthread,sothisprocessofstoppingthemachineandtyingonanewbeamisaregularoccurrence.MJ,aged46,isatwisthandwhohasbeenworkinginLeaversfor10years,havingshiftedhisworkwithinClunyafteritcompletelycloseditsRaschellaceproduction.His10yearsinLeaversisconsideredarelativelyshorttimeincomparisontohisco-workers,andhisrelatively‘new’statusissomethingbothheandhisco-workerscommenton,albeitfavourablyintermsofhisabilitytopickitupandproducegoodwork.MJtookmethroughthisbeamthreadreplacementprocess.Workingfromtheback,hepainstakinglytiednewthreadstoonesalreadyinthemachine(Figure2).Oncecompleted,hereturnedtothefrontofthemachineandstarteditrunningagain.Afterseveralminutes,hedirectedmetolookforthenewthreadshehadtiedintostartappearingatthefrontofthemachine,whereoldandnewthreadshadbeentiedtogether(Figure3).Seeinghistiesprogressthroughthemachine,drawnfromtheback,pulledthroughthefrontandfinallywovenintothelace,clarifiedoneaspectofthelacemakingprocess,ofthreadmovementandharnessingmachineactionforthreadreplenishment.

FIGURE2.Tyingnewthreadstooldthreadsalreadyinthemachine.FIGURE3.Knotslinkingoldandnewthreads.

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Inmovingfromkeepingthemachinethreadedtocontrollingfortheidiosyncrasiesofoldmachinery,wemovetoIP,aged64.Trainedatage15atBirkin,acompetitorfactory,IPhasbeenworkinginLeaversLacemanufacturefor48years.AfterBirkincloseddownin2005,hetrialledabriefstintinChinatoembracethemanufacturingshifttoSouthEastAsia.Notfulfillinghisexpectations,IPcamebacktotheEastMidlandstoworkforClunyin2006.Hetalkedmethroughthechallengesofdifferingtensionsamongthousandsofcarriagesthathousethebasethreads,woundontobrassbobbins,aroundwhichthelaceistwisted.Giventhattheprocedureandthemachineryarebothhistorical,dealingwithalackofuniformityispartofproduction.Ashesays,‘thetroubleiswe’reworkingwithveryinferiormaterialsnow,everything’snotbrandnew;everythingwears’(IP,12April2013).Thetensioninthecarriagesimpactsonthetensioninthelace;tighteronespullthethreadsmoretightlytogether,whileslackercarriagesleavethethreadsfartherapart,creatinganoveralllackofuniformityinthelacemade.

You’llfindwhenyoushakethecarriages–you’veseenthat?(Figure4)...That’saslackone.Ifyou’vegottoomanyslackonesagainsttoomanytightones,thenyougetanabnormalwale,[where]itpinchesinoritslackensout.Thewaleisthedifference[...].Youseethatthreadthere,comingstraightdownandtheonenexttoitthat’scomingstraightdown,wellinbetweenthat’scalledawale(Figure5).Andthethreadthat’scrossingover,eitherside,that’smakingthenet[lace].Ifyougetsome[carriages]thatareveryslackthatarecrossingover,yougetawidewale;ontheotherhand,ifyougetatightonethere,yougetanarrowwale.(IP,12April2013)

Whileunabletoadjustthetension,thetwisthandscantestthecarriage/bobbinunitsfortheirparticulartensions,throughshakingthemoutwitha‘techniqueofthebody’(Mauss2007),andintuitivelygradingthetight,theslackandthoseinbetween.Oncethisisdonethentheycandecidehowtoplacetheminthemachinetoyieldthebestresultinthelace.Intryingtohelpmeunderstandthisprocess,acombinationofdiscussion,directinglookingandimpromptuperformancewereemployed,affirmingthemulti-sensoryapproachinknowledgesharing.

FIGURE4.‘Shaking’thecarriagestodiscernrelativetensions.

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FIGURE5.Variabledistancesbetweenthethreadsinthemachine.

Onanotheroccasion,Iwassituatedwithadifferenttwisthand,PS,whowasalsoaged64,with49yearsinthetradeandhadcomeoverfromBirkintoCluny,butoneyearearlierthanIP,in2005.1PStriedtoexplaintomeabouthowaparticularlacepatternwasconfiguredbythemachinemovements.Thereweretwopointshewantedtomakeabouttheworkingsofthemachineinconnectionwiththeconstructionofagivenlacepattern.Onewashowitlookedonthemachine,theotherwashowthesoundofthemachinecorrespondedtothisvisual.Thepatternhewasmakinghadathreedimensionalaspecttoit,withlittleraisedbaublesaspartofthedesign.Here,Ireferdirectlytomyfieldnotestoexplain.

Whenaskinghimaboutthisparticularpattern,oneofthosewithelevatedloopsinit[PStellsmethat],thequalitywheeldisengagestoallowthepatterntobuildupwithoutpullingthelace[throughthemachine].[Stoppingthemachineentirely]heputshishookthoughtoshowme(Figure6).(fieldnotes,10May2013)

Situatedagainathisworkstationlaterthatmonth,

HetellsmetolookalongthelengthofthemachineandIwillsee,likelittlenosesonthepoints,theelevatedhoopsbeingmadebeforethequalitywheelreengages,and[pulls]thelace[through].[Then]hewalksovertothejacquardandsaysthateventhisgoesquieteratthatpoint,whentheelevatedloopsaremadeonthelace.(fieldnotes,23May2013)

FIGURE6.Baublescreatedinthelace.

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Earlyintheresearch,thefactoryowner,Charles,‘spokeabouthowthemenwhoworkinthefactoryareabletolistenandhear,notjustsee,thatthemachinesareoperatingwellandthe[materials]aregoingthroughasplanned’(fieldnotes,26March2013).Hiscommentrevealedtheembodiedaspecttothelaceproduction,whereallsensesareengaged,notjustthevisual(Pink2011;Pinney2002).However,thisinsightremainedtheoreticalatthetimeandonlycametoclarificationatthismomentwhenPSlinkedthevisualandtheauralwiththemechanical.Forthem,directedseeingwasaboutteaching;forme,itofferedaparticularopportunitytograspaspectsofthelacemakingprocess,reducingthecomplexityintheseisolatedinstancesintocomprehensiblesnippets.Whilethesewisdomswouldnotenablemetoundertakesuchproductionmyself,followingRyle(1949),Iremainedinastateof‘knowingthat’versus‘knowinghow’,thesemorethanvisualinstancesandmydigitalrecordingsensuredthatIhad‘gotit’,atleastinpart,andsoaddedtomyrepertoireofthemultipleprocessesandcomplexitiesinvolvedinmakingLeaversLace.Italsorevealshowthesethreetwisthandsaredifferentiatedfromoneanotherintermsofwhattheyknowandwhattheyfeelcapableoftryingtoconveytome,fromthemoresimpleprocessofdemonstratinghowtiedthreadsmovethroughthemachinetomorecomplexaspectsofsortingoutthreadtensionsthroughactionsofthebody,tobeinginsynaesthetic(Mitchell2002,170)harmonywiththemachineasitworks.FROMUNCONSCIOUSTOCONSCIOUSCOMPETENCEThis(Figure7)summarisesinoneimagetheembodiedknowledgeofagivenworker–itisofIP’seyesfocusedintentlyonthethreads,hishandsrespondingtotheviewandthedemandsofhisimmediateenvironmentandtothedirectionshismindisgiving,basedonhistactileandvisualevaluations.Herewhatcanbeseenisthetriptychofembodiedknowing,ofa‘neuralnetworkofeye-brainhand’inwhich‘touching,grippingandseeing[...]workinconcert’(Sennett2008,153).Sennettarguesthatcraftsmanshipisapracticewithineachindividual(Sennett2008,9),albeitastheresultofaneducationasaparticularcraftsperson,whichmanifestsinhisorherimplementationofskilledwork.

FIGURE7.Hand-eye-mindcomplexinaction.

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Theaimhere,however,istomovebeyondtheircompetenceinembodiedknowingtoacompetenceinpassingthisknowledgeon.Howtorepresenttheirworkwasanunderlyingquestionformyparticipantsandformyselfthoughweeachhaddifferentaimswewerepursuing.TheyweretryingtoteachmeaspectsofwhattheyknowinamannerandtoadegreethatIcouldunderstand,andIwastryingtocomprehendtheseparcelsofknowledgetotheextentthatIcouldunderstandthemmyselfandthenpasstheserepresentationsontoothers.Forthem,thereneededtobeashiftfrom‘unconsciouscompetence’to‘consciouscompetence’,where‘bothlearnersandteachers’mustunderstandoneanotheras‘alocatedparticipant’(Lave1996,158)inthislearningandteachingexchange.Significantmomentsoccurredwhenworkerscommenteddirectlyontheirtransmissionprocesses.Onmyfirstresearchdayinthefactory,IdecidedtospendtimewithMJ,askinghimverybasicquestionsaboutthemachineandwhatthethreadsanddifferentmachinecomponentsdo.Iwascompletelygreenandapartfromaverygeneralgraspthattwistedthreadsprogressedthroughamachinetoeventuallymakelace,Ineededmoreparticularinstructiontoseehow.MJhimselfhadlearnedthetraderelativelyrecentlyfromthecurrentforemanatCluny.Herecalls:

Iwasworkingwithhimforabout6weeks,andhewasshowingmebobbins,carriages,beams–Ihadtoputthethreadup–tiethebeamsout.Basic[stuff].Iwasfollowinghimaround,whateverhewasdoing,Iwastherewatchinghimdoitandhe’dsay,‘yourturn’.ThatwasmyintroductiontotheLeaversside.(MJ,26March2013)

Hisowninstructionwasamatteroftailingthisforemanaroundthefactory,watchinganddoingverysmalltaskshimself.Hehadneverhadtoteachanyonehimself.MJsharedwithmethatitwasachallengetospeakaboutwhathewasdoingwhilehewasdoingit,asitforcedhimtothinkthroughhisworkmentallyinordertobetoabletoexplainandunpackit.Ontheonehand,itcouldbearguedthatitwasachallengetotransformhisembodiedknowledgeintodiscursive,andrepresentational,forms.AsSchonstates,‘skilfulactionoftenrevealsa“knowingmorethanwecansay”’(Schon[1983]1991,51),becauseitisdifficulttoverbalisetacitknowing.However,ontheotherhand,followingthechaîneopératoireapproach,althoughonecanseeamindatwork‘inthesequenceoftechnicalgestures’(Malafouris2004,60),thismustnotprecludethenotionthatcreativeprocessesare‘temporallyemergentanddynamicproductsofsituatedactivity’(Malafouris2004,60),inwhichtellingotherswhatishappeningismorecomplexaswhatishappeningisdeterminedinthemoment.ForMJ,toextracthowtodosomethingfromhistacitunderstandingofworkingthisout,withthefurthercomplexityofrelatingthisprocesstomeatmylevelofunderstanding,wasabigchallenge.Teachingmeseemedtobethecatalystforreflexivityonhispracticeandhisabilitytobeabletodistancehimselffromhisembodiedknowingandbothtranslateandreducesomeofhisworkingprocessesintodiscursiveforms.Amoreexperiencedtwisthand,IP,alsohadtoreflectonhisinstructiontome,thoughfordifferentreasons.Anaturalconversationalist,transferringhisknowledgeandprocessesintowordsdidnotseemproblematic;further,ashehadbeeninterviewednumeroustimes,hewasalsoquitecomfortabletalkingabouthimselfandrepresentinghispractice.Whichwordsandtowhatdepthsthe

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conceptshewishedtoreveal,however,presentedthegreaterchallengetohim.Asrecordedinmyfieldnotes,inthemiddleofadiscussionabouthiswork,IPstoppedsuddenlyandasked,

‘AmIconfusingyou?’Hesaidthatwhenspeakingtosomeone,hehastogaugethepotentiallevelofunderstanding,sothattheycancommunicatetorevealsomeaspectsoftheprocess.Ifsomeonetechnicalcomesinthen,theycantalkatadifferentlevelthantosomeonelikeme,whoisjustgleaningtheprocess.(fieldnotes,18–19April2013)

Thereismediationongoingbetweensharingtheirknowledgeandtheabilityoftherecipienttocomprehendwhatisbeingexplained.Youcannotjusttellsomeonewhatisgoingon,withouttakingintoaccountcurrentabilitytoreceiveandprocessthisinformation.Participantsmediatetheirknowledgerelevanttothesituation.AsStarnotes,‘knowledgeitselfisindeterminate.Thisindeterminacyarisesbecausethemeaningofknowledgeisgiveninitsconsequences,inacommunityoflisteners,notinit’sapriorianalyticalspecification’(Star1996,303;italicsoriginal).Theimageatthebeginningofthissectionrevealsthepotentialfor,willingnessofandbarrierstopassingon.Oneofthemeaningsthisphotorevealsisthehand/eye/mindcomplex;itlikelyrevealsothermeaningstodifferentpeople,dependingonwhattheysee.Theimagealsorevealsarelativeclosenessbetweenthephotographerandthetwisthand,atleastintermsofphysicaldistancetotaketheshot,butalsointermsofcomforttobeabletocomposetheshotpriortotakingit.Thebarriersariseinthepassingonofwhatisunsaidinthisdocumentationofenactedthinkingandseeing,andifsomethingweretobesaid,towhatdegreemightthisbeunderstood?Asevidencedhere,limitationsresidebothwiththetwisthandandwiththeethnographerintheprocessofcommunication.Attimes,thetwisthandwishestosharehisknow-howmorefullybuthemustreducethisintosimpleterms,verballyandperformatively.Thismaybesothatthenovicecangraspaspectsoftheprocess;itmayalsobebecausethetwisthandcannotadequatelyexpresshisembodiedunderstanding.Ineitherinstance,thecomplexityoftheinterconnectionbetweenpeople,thingsandimagessuggeststhatknowledgeitselfisrelativetothesituationofitsmakingandremainspartialinitstransmission.PREHENSION...ANDPOSSIBILITYAfewmonthsintothefieldworktherewasapatternchangeanditwasdecidedthatIshouldparticipateinthis.Throughoutthefieldwork,IwasoftentoldIshouldbearoundforapatternchange,to‘getafeelforthepractice’(Bourdieu1990,66).Inpreparationforthisevent,onetwisthandsetmeataskhefeltIcouldmanage.

IPhasaskedmetohelphim,sothatIcanlearntothread,especiallyas[thepatternchange]willrequireuntyingthosethreadscurrentlytieddownontothesley(Figure8).Todayhegavemeatrialrun,inthathebrokeathread,tiedonanewoneandaskedmetoputitup.Hepulleditthroughthesleyhimself,saidhe’dchosenaneasyoneforme,andtoldmethatthepositionofthethreadmatchedthatofthoseinthesamepositiononthebreadthseitherside.Heleftmewithhishookandthethreadtofigureitout.EarlierIhadseenhimcounting

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holesinthebarssoI[...]didthesame.Itriedtofeelthethreaduptowhereitpassedintothebar,realizedthethreadsarefedthroughthebackandthenarepulledthoughtothefront,andagain,copyingwhatIhadseenhimdo,putthehookinuptothehandletomarktheplaceandthenbringupthethread.IwasworriedIwouldbreakmorethreadsasthehookentangledwithotherthreads,butintheendIfoundtherightbar–thefrontone–andcountedacross,andpulledthethreadthrough.[IP]camebackasIwaspullingitwiththehookandhesaidthattheflatbitonthehandleindicatedwhichdirectionthehookwasfacingandsoIpointedtheflatbittowardme,and[thus]thehookybit,andsowasabletothreadthebar.IPcheckedit–healsocountedalongtodoso–andsaidIwasright.(fieldnotes,10May2013)

FIGURE8.Knottedthreadstiedontothesley.

HereIattemptedtotranslatefromvisionintopractice,movingfromasensegleanedfromeyesandmind,toSennett’shand-eye-mindcomplexofdoingandanticipatedaction,basedonexperience.Ididsuccessfullymanagetoputupanewthreadwherethebrokenthreadwas,amidmyfearsofcausingmoredamageintheprocess.Whilemyactionswerepremisedonimitation,ofhavingwatched,photographedandbeentalkedthroughthepractice;inexecutingthem,IhadtonavigatemywayviaaseriesofdecisionsIhadtomakemyself.Sennettusestheterm‘prehension’todescribetheanticipationwehavetowardsunderstandingsomething,amidincompleteinformationinwhichtoachieveit.SimilarlySchlangerarguesthatinthechaîneopératoireapproach,therearenocompletementalmapsdrawn,butrather‘agenerativeinterplaybetweenmentalandmaterialpossibilities,involvingplanninganddecisionmakingaswellasmoretacitorroutinepractices’(2005,28).Inmythreadingmoment,IhadtodrawonthelearningIexperiencedinthefactoryenvironment,coupledwithotherlearningexperiencesIhadpreviouslyhadwiththreads,hooksandholes,tothinkthroughmysequenceandconstructaprocess.Theimagesemployedheretotellthisvignettearenotofmyownexperienceofthreading,butofonesItookdocumentingtheworkers’undertakings,inthecourseofthefieldwork.Intheseinstances,whiletheseearliershotsoftheirworktaughtme,inpart,whattodo,theyhavenowshifted,throughmyspecificinterpretation,tobecomenarrativecomponentstoillustratemyjourneytoknowing.Furthermore,asfieldworkprogressed,Istartedanticipatingwhichgesturesimpliedwhatactionsandwhatwouldbeusefultocapture–suchaswhentheworkerputsthecatchbardownmeanttheimminentstarttothemachinemovingorwhenalargequantityoflaceontheupper

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rollermeantthatthelacewebwouldbepulledoffsoon–andwaitedfortheseeventstohappen.Thisawarenessputmeintoapositionofbeingabletodirectmyownvision,having‘learnedtosee’(Bell2003,120)afterseveralmonthsoflooking.Yetmeaningandbeingneednotbeaneither/orchoice.ReferringbacktoFigure8specifically,whatwasanattractiveknotonablackbackgroundearlyinmyfieldworkremainsaestheticallysignificant,despiteitsphysicalandconceptualunravellingtobecomeaspecificsetofthreads,eachgroupcorrespondingtoarepeatingpartofthepattern,which,duringthepatternchangewascompletelyundoneandreincorporatedintothelaceweb.AsMacDougall(2005,6)suggests,myearlierdepictionwaspredicatedonanenchantmentwithbeing,inthepleasureoflookingatandappreciating;havinguntiedtheknot,Ialsogottoappreciateitsmeaningasplaceholderforthenextpattern.Forthepurposeofthisfieldwork,thelatterseemedmoreimportant;however,thebeautyoftheimagebothupholdsmyunfoldingpartialnesstowardsClunyLaceandwithstandsmypartialunderstandingofwhatthelacemakersknowofitsconstruction.Finally,onthispartialityinthesenseofignorance,althoughIhadgainedanunderstandingofworkflowandprocess,duetolackofembeddedtimeinpracticingtheirwork,Icouldnotundertakemoreoftheseactionsandmeetwithequalsuccess.Asdiscussedearlier,IPhadpreviouslytalkedmethroughoneoftheprocessesforcheckingthecarriage/bobbinunitby‘shaking’themtodeterminetherelativetensionsofthebobbinthreads.Afurthertask,ofholdingahandfulofcarriagesuptothelight(Figure9)inaprocesscalledshining,aimstoprovideafurthervisualcheckforirregularitiesintherelationshipbetweenthebobbinandcarriage,beforeslottingthecarriagesintothemachine(Figure5).IPshowedmesomeslackbobbinsintheircarriages;thesehadbothbobbinyarnandbeamthreadstickingoutofthem,astheseweresowide,theyhadcutdowntheverticalthreadsintheirmotions,insteadofpassingbetweenthem.

FIGURE9.‘Shining’thecarriagestolookforirregularities.

Hethentriedtoshowmethedifferencebetweenagoodandabadbobbin,eachsetwithinacarriage,throughtheshiningprocess.Heputtwotogether,heldthemuptothelight,andsaidthatthebadonewouldlookdarkerthanthegoodone.HepassedthepairtomeandIlookedthroughthemandtriedtoseewhathewantedmeto,butIcouldnottellthedifferencebetweenthem.HetookafurtherstepanddrewmealittlesketchofwhatIshouldperceive,totryandshowme,inadirectedfashion,whattolookfor.AlthoughIrecognisedhisactionandwhyhewasdoingit,myeyescouldnotspotthe

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difference.ThisreturnedusbothtotherealizationthatwhileIwasabletoachievesomebasictasksintheLeaversLacetrade,andcouldnarrateandrepresentintheimageswhatIhadgraspedaboutsomeoftheprocesses,mytruecoloursasnoviceglaringlyremained.CONCLUSIONSThecreationofdigitalimagesinfieldworkandtheknowledgepotentialstheseimagescontain,atthatmomentandafter,arebasedontheparticipant–researcherdialectic.Thisisacollaborativeandgenerativeact.Whilethismaybehiddenwhenconsideringagivenimage,asFavero(2014,167)argues,likeHerle(2009),oneneedstolookbeyondtheframeofanimagetoseethe‘context,relationsandmateriality,andhencetheworld,surround[ing]’it.Asseeninthisarticle,myimagestransitionedfromblindshotstobecomingmoreseeing-centred,asIcametounderstandmoreoftheprocessesIwasattemptingtorepresentthroughbeingguidedinwheretolookandwhattosee.Further,asIunderstoodmore,notonlycouldIdirectmyshotsbyrespondingtogesturesandcluesintheenvironmentastowhatmighthappennext,IcouldalsorevisitearlierimagesandseeinthemcontentandcontextIcouldnotgraspearlieron.AsPinkargues,themeaningofanimagewillshiftdependingonthe‘differenteyesandaudiencesindiversetemporal,historical,spatialandculturalcontexts’(Pink2007,68).Atonelevel,thedifferenteyesgainedthroughoutthefieldworkweremyown,augmentedthroughunderstandingthepracticefromthesumofvariousparts–throughlooking,seeing,representing,hearing,listening,discussing,questioning,trying,succeedingandfailing–createdovertheresearchperiod.However,asIneverattainedacompleteunderstandingofthelaceproductionprocesses,atanotherlevel,myunderstandingofmyimagesandtheircontentcontinuestoremainpartial–thatformetheyreveallessthanforthosewithmoreskillandinsightcanunderstandfromthem.Theseimagesneverthelessremainpartofthatdialogiccollaborationbetweenresearcherandparticipant,revealingand,atthesametime,resistingmeaning.Giventhemultiplemeaningsofcontentandcontextanyimagemayrepresent,whatIhaveassembledhereisthenarrativeofcollaborationanditsimpactonrepresentingapractice.Thisnarrativebecamemy‘functionofresemblanceasaroutetoknowledge’(Ruby2000,7,citedin;Pink2003,181)andtellsapartialtaleofwhattheworkersknow,andamorecompletetaleonthepartiality(inbothsensesoftheword)ofmyknowingandhowthisimpactsonmyabilitytosee,andmychoicestoclassify,orderandassembletheimagesintoanyparticularstory.AcknowledgementsIwishtothanktheArtsandHumanitiesResearchCouncil(AHRC),NottinghamTrentUniversityandClunyLaceformakingthisresearchpossible.IalsowishtothankthelacemakersatClunyLaceforsharingtheirtime,expertiseandinsightswithmeabouttheworktheydo.FundingThisworkwassupportedbytheArtsandHumanitiesResearchCouncil(AHRC)[grantnumberAH/K005952/1].Notes

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