ABSTRACT
The definition of artistic activity, the subject of the third session, had been left open to the participants’ own interpretations. The choice of the term artistic was related to the author's interest in investigating the hierarchical boundary between art and craft, how it has been constructed in Europe and implemented in various contexts around the globe. The notion of emotional embodiment in objects grew in his understanding during the sessions on artistic activities. The plans for his own engagement in artistic practices during the workshop series had been vague. Indian practices of portrait photography have been studied by Christopher Pinney. By a combination of historic and ethnographic perspectives, he shows how photographic works are embedded in wider cultural practice and shift across time and locality. Although reader did not have time for a session of artistic activities, the kolu-making presented itself as a convincing fulfilment of this aspect.
