La « perruque » en usine : approche d’une pratique marginale, illégale et fuyante

A “homer” is an artifact that a worker produces using company tools and materials outside normal production plans but at the workplace and during workhours. Despite legal, artistic and ethnographic evidence of their existence, silence surrounds homers. Along with this evidence, interviews conducted mostly with retirees from a French aeronautics plant are used to show that this silence is not linked just to the marginal and illegal quality of these artifacts. Homers shed light on a high degree of “complicity” between employees regardless of their position in the hierarchy. Since the factory’s institutional framework has little room for this complicity, the silence surrounding homers is a sign probably of an inability to talk about them rather than of their marginality or illegality.     

Pour une sociologie des professionnels engagés : « Mondes de l’art » et militantisme contre la guerre en Irak aux États-Unis

This analysis of the mobilization of American artists against the war in Iraq emphasizes how their work situations have shaped their involvement. Regardless of political organizations and networks, or of the ideological dimensions of the anti-war cause, relations having to do with the work and occupational identities of these persons determined, in the first place, their actions and the positions they have adopted publicly. This article contrasts various “artistic subfields” and “patterns of activity” in order to understand the factors that have made it more or less tenable for these social actors to articulate the identities of artist and activist and, in some cases, to produce “political art”. The second part focuses on the “professional structuring” of this activism by showing how the current operation of artistic spheres — which have become more self-regulated, specialized and professionalized —tend to curb the confusion of issues that mixes aesthetic up with politics.