Les formes et enjeux d’une patrimonialisation post-industrielle débordent la traduction littérale d’un patrimoine entendu comme héritage. Elle nous invite à considérer les traces de l’industrie – en l’occurrence de la mine – comme inscrites dans un processus toujours inachevé de protection, d’interprétation et de création, dont les enjeux ne sont assurément pas réductibles à la passion du collectionneur, ni même à la mise en tourisme d’un patrimoine envisagé comme vitrine culturelle d’une région. À partir d’un travail de recherche-accompagnement réalisé en (...) 2002-2003 pour la région Nord – Pas-de-Calais, nous interrogeons les formes de communication et de patrimonialisation du bassin minier visant, notamment, à le faire reconnaître au titre d’un patrimoine mondial de l’UNESCO. La problématique d’une reconversion prend ici son sens dans des formes actives d’interprétation culturelle, notamment artistique et environnementale, qui participent d’une relecture de l’activité économique et sociale passée et présente.The questions raised by post-industrial museums and their different forms challenge the idea of “heritage” taken as meaning an “inheritance”. They are an invitation to consider the traces of an industry – mining in this case – as part of an unfinished process of conservation, interpretation and creation, which is driven by more than a passion for collection or even the need to attract the interest of tourists in a heritage collection intended as a showcase for a region. A research and accompaniment project in 2002-2003 for the Nord – Pas-de-Calais region was our starting point for this investigation into the forms of communication and the treatment of heritage in this mining area, which was aiming, in particular, to achieve recognition as a UNESCO world heritage. Here, the economic conversion issue takes on particular significance in the active forms of cultural – and especially artistic and environmental - interpretation that stem from new ways of envisaging economic and social activities past and present. (shrink)

Contemporary protest movements are skeptical of mainstream media outlets, and so to communicate, they make extensive use of social media such as YouTube, Instagram and Twitter. Most research to date has considered how protest movements, as preexistent entities, use such social media to communicate with stakeholders, but little, if any research, has considered how a protest movement is constituted in and through communication. Using the Montreal School’s ventriloquial approach to communication and using YouTube video footage of the gilets jaunes – (...) a contemporary French protest movement – in action, the purpose of this article is to explicate how a protest movement that resists the state’s authority is constituted in and through a textual artifact. Findings indicate that the protest movement is not only discursively constructed through the commentary that accompanies the video, but it is also constituted by non-human actants such as space, buildings and clothing. The protest movement mobilizes networks of human and non-human actants that invoke a moral authority that resists legally authorized state-sponsored networks which are also made up of human and non-human actants. (shrink)