Happy Incidents and Unexpected Encounters in the Academia, or Be(coming) (a) Present(ation)
The Impact of Performance as Research Proceedings of CARPA3 — Colloquium on Artistic Research in Performing Arts , 2014
This performative presentation is a shared venture between four female academics working in the i... more This performative presentation is a shared venture between four female academics working in the intersection of arts, arts education and artistic/qualitative research. The unexpected encounters of our worlds and thoughts have given birth to this shared process of inquiry. Through playful improvisation based on simple patterns, everyday actions, verbal reflections and experimental writing, we are fumbling towards collaborative research practices. We are challenging ourselves in a search for intuition, spontaneity and playfulness that too often become lost in the academia. Drawing from some of the principles and ideas of the late 20th century French philosopher, Gilles Deleuze our collaboration has moved us to consider the indeterminate and continually shifting, nomadic process of not-knowing in the midst of sometimes striated academic (writing and presenting) practices. We have approached this process by putting into play simultaneously our multiple experiences, accounts, stories on be(com)ing academics in our fluid fields. These fold in and back on one another, and ripple into diverse (theoretical) discourses as well as (scholarly and artistic) practices. This, we believe, disrupts the comfort, taken-for-granted (striated) academic spaces of reading, thinking and knowing. We are willing to see how our collaboration may help us in finding new, maybe happier ways to act, relate, think and write – or, to be(come) in the academia.
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Papers by Hanna Guttorm
‘now’ of our lives since; between daylight and darkness; between summer and winter; and as we seek to disrupt these and other such binaries. In this paper, through the always zigzagging movements of our writings we ex- plore and inquire within our different accounts of the workshops we each experienced and offer something that writes to and with what has emerged, and is emerging, for us as a consequence of engaging in them. We write with the paradox of a seven never having been in the same material space simultaneously and with intensive materiality, material and affective flows, with each other, with Deleuze, Deleuze and Guattari, Deleuze and Parnet, Deleuze and ... and ... —with Deleuze there is always ‘and’—we open up (a) space(s) where we write between-the-seven.
In this doctoral thesis I illustrate the becoming of my thesis and the materialization of poststructural theories in the practices of research and its writing. My ethnographic research on genderized craft education shifted to that of an autoethnographic investigation on the possibilities and justifications of knowing, as well as that of ethical questions: how is it possible to know about others or the discourses they are using? How do I position myself as a researcher in the prevailing practices of knowledge production? How is it possible to represent the world with a language, which always categorizes and divides? And how is it possible to illustrate the research process, while putting to work the poststructural theories not only in the analysis of the data, but also in the practices of manufacturing and writing the research.
The epistemological and methodological questions became unavoidable with the theoretical frameworks I used: my work is inspired by poststructural theories and the Anglo-American and continental poststructural feminist societal and behavioural research inspired by them. As a result of these choices, it became possible for me to consider the manufacturing and writing of science as socially, historically, culturally and discursively constructed, and thus possible to become manufactured otherwise.
In my research I contemplate the practices of knowledge production and the coming to know and illustrate what is happening in a doctoral thesis and how it occurs. I present some illustrations on the methods and research materials written throughout the research journey as well as the flow of questions in verse/poetic form. These texts, which I call nomadic writings, overlap with the theoretical texts written later on. Simultaneously I seek both rational and affective arguments for expanding the space of not-knowing, dignity, and co-creation in the academy and academic practices. In this research I settle upon writing love letters to my research participants/co-researchers.
I demonstrate in my research, that writing in verse/poetic form manages to apply and represent the ongoing movement of the events, phenomena, and realities, that is, without grasping them. In its discontinuity and gaps the poetic language illustrates the partiality, constant incompleteness, ambiguity, and the procedural nature of knowing. In addition it creates space for breathing and holding thousands of different kinds of minds.
And that always only a selected part is illustrated in the research report and that the choices can also be made differently
And that the research becomes/arises in intra-action with the research communities, read, and countless (in Finnish also unread ) books, people, animals, artifacts, e.g. writing materials
And that texts always fail or never reach reality in its entirety, while at the same time they are materials that can touch, and participate in creating the world
Thus, one contribution of this research is to create space within Finnish behavioural sciences for poststructural autoethnographic writing, written from one s own moving place. For writing, where one s own and not-own sensing and thinking multivoice sounds.
‘now’ of our lives since; between daylight and darkness; between summer and winter; and as we seek to disrupt these and other such binaries. In this paper, through the always zigzagging movements of our writings we ex- plore and inquire within our different accounts of the workshops we each experienced and offer something that writes to and with what has emerged, and is emerging, for us as a consequence of engaging in them. We write with the paradox of a seven never having been in the same material space simultaneously and with intensive materiality, material and affective flows, with each other, with Deleuze, Deleuze and Guattari, Deleuze and Parnet, Deleuze and ... and ... —with Deleuze there is always ‘and’—we open up (a) space(s) where we write between-the-seven.
Books by Hanna Guttorm