Phenomenology & Practice (Journal)
Not a member yet
226 research outputs found
Sort by
Introduction by the Editors to this Phenomenological Note
No full textIntroduction by the editors to Katja Hock\u27s Phenomenological Note, Lange Weile
Crease
No full textThis experimental paper proposes a shared exploration of the crease as a tactile, existential, and artistic phenomenon. It takes Roland Barthes’ definition of his left-handedness as “a tenuous and persistent crease” as a basis. Hence, this phenomenon is a minor but stubborn mark on the self, a superficial matter.
In order to portray an intimate and personal approach to the subject, this paper is written in first person. This “I”, though, is plural, a result of a collaboration. As part of the methodology developed to create this polyphonic voice, the paper is structured in a non-linear fashion. After each section, the reader can choose how to proceed.
The imposed choices reveal the materiality of the text - they establish points of friction and awareness for a reader; and weave different discursive lines and surfaces. The aim is to allow the format to contribute to the definition of the crease, beyond images and excerpts in the content.
 
Exploratory Essay Writing: An Aesthetic-Phenomenological Research Practice
No full textThis paper presents a practice—exploratory essay writing—as well as conditions for evidence and arguments that substantiate the categorization of this practice as an aesthetic-phenomenological research practice.
Four different strategies have been chosen in order to publish this practice. The first and most relevant was to perform this practice, that is, to write a new exploratory essay to be published in this Special Issue. To read this essay may allow the reader to enter in contact, retroactively, with the practice that generated it and, on this basis, achieve intuitively a sense of how the process of writing might have been developed. The second strategy consists in recording my reading of the new exploratory essay. The change of medium and the consequent aural presence of the essay provides on the one hand another access to the practice and, on the other hand, a bridge to the reflection about this practice as an aesthetic-phenomenological practice. The third strategy presents three different “scores” for writing exploratory essays. These instructions or guidelines disclose step by step the actions that constitute this practice. Eventually, the fourth strategy of publication presents some reflections about exploratory essay writing as an aesthetic practice and as a phenomenological practice as well as about the possibility of conceiving and practicing—or better, of conceiving through practicing—an “aesthetic phenomenology” as complementary to a “philosophical phenomenology.
A Book Review of Mariella Greil\u27s (2021) Being in Contact: Encountering a Bare Body Published by De Gruyter
No full textReview of Mariella Greil\u27s (2021) Being in Contact: Enountering a Bare Body, published by De Gruyter
"And now for something completely different": An Introduction to our Special Issue
No full textEditorial introduction to the Special Issue by Erika Goble, editor.
Practices of Phenomenological and Artistic Research
No full textEditorial introduction to Special Issue by Alex Arteaga and Emma Cocker, guest editors
What About NOT: A Tertúlia Fenomenológica
No full textThis is a piece of experimental multi-perspectival writing in which four different personae adopt different methods and intellectual relationships to writing as a means of research, by using the topics of fiction, counterfactual history and not-being. The narrative line is provided by a novelist who retells Saramago’s The History of the Siege of Lisbon. In Saramago’s novel a wayward proof-reader mischievously adds the word “not” to the historical account, creating a fictional, counterfactual history. This “bringing into being” of a fiction – of what didn’t actually happen – sets in train a series of perspectives or thought experiments by the four personae of the present text on the nature of “not-being”. They deploy methods from fictional writing and phenomenological practice informed by Saramago and Sartre, and phenomenological theory informed by Husserl and Meinong, thereby investigating the topic from four different perspectives. As a result, it is proposed that the legitimacy gap suffered by fiction-as-research may be bridged by so-called Meinongian objects, and the problem of whether such inexistent objects are facts, is less important than deciding whether they are useful. The conclusion is that artistic research methods offer techniques and a space to discuss the agency of not-being, of what-if, and of omission, through the legitimate deployment of fiction and falsehoods; and the benefits of so doing outweigh the existential discomfort that such ideas usually induce in researchers
Phenomenological and Artistic Research Practices
No full textEditorial introduction to the Special Issue by Juha Himanka, guest editor
Lange-Weile
No full textUsing lens- and time-based media — photography and very still moving image — the artistic research practice presented here as ‘phenomenological notes’ aims to bring to the foreground that which might be familiar and is easily overlooked. The presupposed perception of the phenomenon of nature is destabilized and put into question through a process of lens-based durational observation, stretching that which is thought to be known, allowing for the opening of other understandings of nature to emerge. The aim is for these phenomena to be re-seen through closely engaging with what surrounds us and through a process of elongated looking that leads to different modes of seeing and recollecting.
The practice itself comprises two distinct, seemingly opposed but interdependent parts of the overall making process: one foregoes the other which is essential for the other one to evolve. These parts are referred to as modes of attention. The first mode of attention demonstrates a more active form of being in a space: the artist actively moves, seeks, and collects. Following on from this, a less active mode is taken up: the artist becomes more receptive, lets the world reveal and unfold itself in front of the lens. The three pieces of work presented — Stille Fragmente, Leaves, Ice melting — give expression to these two modes of attention, and also show how the work has evolved throughout ‘time’. As the work has developed, the process of looking has become more and more distilled, lending more attention to the idea of duration, a concept that might be somewhat contentious to discuss via a medium so clearly associated with clock-time.
The decision has been made to trust the agencies of the artifacts themselves produced by this process: not to explain but to frame the phenomenon, to destabilize the pre-established understanding of the phenomenon of nature
Artist-Author in Action and Reflection
No full textThe question of conjoined artistic- and phenomenological research practice is explored through two realizations of a drawing-based practice, complemented with a language-based practice that includes transcriptions of a spoken monologue while and about drawing. Through adapting the sense that the monologue’s addressee is an apparently other person, and narrating this situation, the author expresses through the article that the experiential process of drawing is automatically phenomenological. In turn, the article is a presentation of how phenomenological reflection is implicit in the practice. The artist- referenced in the article is termed the artist-author, declared as such to the reader, and is thereafter suggested as split into an apparently more reflexively inclined artist and a more reflectively inclined author/interlocutor. The hypothesis that both artistic- and phenomenological research can manifest as a single practice is embedded in the article’s manner of presentation, the reader of which is almost in the same interlocutory position as the author-, of the artist-author, in being able to notice this. The article’s actual author, however, refers to himself as a homunculus, in effect the hyphen of artist-author, that enables him to detach sufficiently from what can be read and seen to format the article in such terms as enable the reader to critically reflect on its hypothesis. The role of the camera itself, considered as a metaphor for interaction between the reflexive event and its subsequent language-based reflection, is also acknowledged, especially in the context of the artist-’s referencing in the drawing and in his speech how the camera both aids and obfuscates the process, and linking this to theory. The transcript conveys spoken enunciation, especially through its grammatically formatted disfluency and extended pauses, and the author’s personal declaration and observation of himself – reminding the reader that the article’s content is after all about its narrator – is italicized