being curious

These are Emilyn’s notes and questions from today.

Phenomenological Enquiry. Or – Being Curious:

  • What do you notice when you do that?
  • What happens when you do that?
  • Is there a history that comes with that?
  • What is the memory you have with that?
  • What happens next?
  • What happens if you do the opposite?
  • Can you exaggerate that?
  • What happens now?
  • Can you describe what is happening?
  • As you talk about it, what else is happening?
  • What is not moving?
  • How do you do that?
  • Teach me how you do that?

Lines of flight

Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities.

Deleuze & Guatarri 1980 A Thousands Plateaus p. 9

Later…

  • What meaning do you make of this?
  • What wider contextual ideas emerge?
  • What do you take from this?
  • What is no longer useful to you in your practice?
  • How does this change my practice?
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satisfying curiosity

Habermas’ insistence on the interests behind research procedures can be seen as a blow to a positivistic insistence on impartial objectivity of research: we choose scientific methods out of interests! And of course we do. Research is not just following certain rules, but trying to find answers to questions that we find pressing or interesting, solving urgent problems, creating things we want or need – or just satisfying curiosity. And hopefully we find the relevant methods for solving those problems. But Habermas’ insistence on the interests behind research may remind us of the one thing that we more often than not must search for in vain in general and abstract discussions of artistic research, namely statements about the aim of these kinds of research. What do we want to know that artistic research will be able to tell us? What do we want to achieve through artistic research?

— Kjørup, Søren. 2010. “Pleading for Plurality: Artistic and Other Kinds of Research.” In The Routledge Companion to Research in the Arts, edited by Michael Biggs and Henrik Karlsson, 24–43. London: Routledge. p.30