ONTO LAB

Presentations - conferences

INTRA 2923: Vandalorum, Värnamo, 30 september 2023

Praktiknära forskning och postkvalitativa metoder

Inledning

Antroprocentrism. Klimat och miljökriser. Människan i centrum. Nya perspektiv har kommit till som posthumanism och new materialism. Vad kan vi lära av hur natur och materia blir till? Vad betyder detta för pedagogiken? Det handlar om att bryta illusioner om hur vi blir till med världen, att ta sig ut ur dualism, representationer och speglingar och i stället medverka till ett etiskt ansvarstagande för jordens överlevnad.

Det som dessa perspektiv kan sägas ha gemensamt är att allt är flätat samman, luft, ljud, språk, kroppar, stolar, väggar, m m. För att visa detta skall vi börja med att dra garn och språk mellan oss. Ett rhizomatiskt nätverk som skapar utrymmen mellan materialitet och de visuella och talade orden. Genom att göra så trasslar vi in ord, teorier, idéer, det visuella, gester, rymden, kroppen och så vidare. Garntrådar och ord som flätas samman.

Dela ut garn och lägg ordremsorna på bordet. Läs högt från text och begrepp som ligger på bordet. Vad kan vi lära av hur materia blir till?

Det vi gestaltat här tillsammans skulle kunna liknas vid kokt spagetti. Ett trassel av fenomen som är inflätade med varandra och som gärna vill bevara denna sammanflätning på ett hållbart sätt.

För att lära av materian blir skall vi ta hjälp av Karen Barad. Karen Barad menar att det är viktigt att vara kritisk mot begreppet inter-aktion. Relationer mellan deltagare, mellan lärare och elever, mellan handledare och student (inter-aktion) Hon vill i stället införa begreppet intra-aktion vilket vilket vidare begreppet till att också få med materia, natur och andra icke-mänskliga fenomen (intra-aktion)

I mitten av 1920-talet gick Nils Bohr och Albert Einstein tillsammans i Faelledparken i Köpenhamn och diskuterade hur de fysiska experimentens instrument var med och påverkade den fysiska världen. Einstein sa att det var möjligt att eliminera instrumentens l i ett laboratorium för att komma fram till en objektiv och sann kunskap. Nils Bohr hade motsatt uppfattning, allt påverkar allt, det som händer i den materiella världen är något som samspelar med instrumenten och forskarens iakttagelser.

Låt oss titta lite närmare på teorier inom kvantfysik. Kvantfysiken studerar de minsta partiklarna av materia. Partiklar som slumpmässigt rör sig här inom oss och mellan oss och som är något vi inte kan se med våra ögon. Våra kroppar är uppbyggda av biljoner mikroskopiska celler och i cellernas innersta värld gäller kvantfysikens lagar. Kvantfysiken förklarar också fotosyntesen som är grunden för allt liv på jorden.

Inom klassisk fysik tror man att varje slumpmässig händelse har en orsak. En partikel kan bara vara på en plats åt gången. Om jag slår en tärning och den visar X, illustrerar detta ett vanligt sätt att se på slumpmässighet. Med hjälp av fysikens lagar om orsak och verkan skulle det vara möjligt att förklara varför det blir X om vi känner till alla omständigheter kring tärningen.

Vilket jag ska försöka visa med två tärningar. När jag träffar dem visar de olika siffror, är helt olika och har enligt klassisk fysik inget förhållande till varandra. De två händelserna är helt opåverkade av varandra, och det är slumpmässigt vad de kommer att visa.

Kvantfysisk slumpmässighet innebär att det inte går att förstå varför det blir X. Det finns en objektiv slumpmässighet som går bortom subjektiva upplevelser, ingenting vet, inte ens Gud. Det finns ingen individuell förklaring till att det är X.

Inom kvantfysiken har vi två händelser, element, system eller nätverk som är sammankopplade av vad som kallas entanglement, som kokt spagetti.

Om tärningarna har kopplats ihop och är i ett tillstånd av intrassling kommer båda att visa samma nummer. Om den ena visar 1 kommer den andra att visa 1 osv. Detta är oavsett hur långt ifrån varandra de är. Entanglement innebär att två partiklar har egenskaper som de får genom att vara sammankopplade genom att vara antingen motsatta eller lika.

Hur kan två slumpmässiga processer utan orsaker visa detsamma? Är våra föreställningar om verkligheten felaktiga? Eller är våra uppfattningar om tid och rum fel?

Kvantfysikens svar är att det beror på att tärningarna är i superposition. Superposition innebär att en partikel finns på många ställen samtidigt. När partiklarna separeras kommer de fortfarande att vara i ett tillstånd av intrassling och har fortsatt överlagring. Partikeln kan röra sig genom att välja alla vägar mellan två punkter samtidigt och information kan färdas över stora avstånd utan att ta någon tid alls.

Genom att vara sammanflätade har de också förvärvat varandras fastigheter. Vilket betyder att båda visas som ett, två etc. De har alla sina möjligheter samtidigt, 1,2,3,4,5,6.

Frågan är nu hur partiklar gör för att lyckas kunna koppla samman samtidigt med att de bevarar superposition. Det är här som begreppet kvantsprång blir intressanta. När elektronerna befinner sig i dess stationära banor utsänder atomen ingen strålning. Men en elektron kan hoppa, ta ett språng från sin nuvarande bana till en bana med mindre energi och därmed frigörs dem överskjutande energin i form av strålning, en så kallat lyskvant. Bohr menade att ljusutsändningen skedde genom ett plötsligt och oförklarligt kvantsprång. Dessa språng medverkar till att det uppstår energi (Bohr 2013).

Det är inte möjligt att förutsäga var och när elektronen tar ett sådant språng. Inte heller vad kvanten befunnit sig när den försvann från ett ställe och dök upp på en annan plats. Den kan finnas närvarande på flera ställen samtidigt. Några gånger görs detta genom en väldigt liten verkan från kvanten, andra gånger genom något som är mycket större. Ljuskvanten är så liten att det inte är möjligt att något mindre kan äger rum, det är den som håller materian i gång. Språnget äger rum i ett ögonblick och vad som sker på vägen går inte att uppfatta.

Ett sådant språng sker slumpmässigt och det är inte möjligt att veta partikelns väg, endast att det vid något ögonblick kommer att skapas ett språng som gör att de kopplar samman. De kan ta vilken väg som helst men av en ren slump väljer de att göra ett språng (Bohr 2003).

Varför? Jo, därför att de vill undgå ge varandra en position. De bildar med hjälp av kvantsprånget en sammankoppling som skapar en form av en symbios mellan partiklarna, vilket gör att de behåller en skillnad mellan sig samtidigt som de utgör en helhet. På så sätt lyckas de bli till med världens upprepning på ett hållbart sätt.

Detta är något som pågår tills partiklarna mäts eller observeras. Då måste partikeln bekänna sig till existens genom att välja ett tillstånd och bli en position på antingen 0 eller 1. Detta bidrar till fenomenet går från superposition till position och skapa en dualitet mellan subjekt och objekt. Men under tiden, och innan de observeras, är partiklarna i många tillstånd samtidigt en superposition (Nørretranders 2022).

Hur skall vi då som forskare kunna undgå att göra en observation som stör fenomens blivande? Är det möjligt att forska utan att förvandla fenomen till objekt? Hur skall vi störa fenomen så lite som möjligt men samtidigt inte sluta i tystnad?

De experiment som idag görs på Niels Bohr-institutet i Köpenhamn med kvantdatorer bygger på att kvantpartiklar inte utsätts för någon form av störning, vilket görs genom att frysa dem till mycket låga temperaturer (Nørretranders 2022).

Om det lyckas kan egenskaperna hos partikeln användas för att kommunicera och utföra stora beräkningar. Om ett sådant systemet av partiklar inte störs har det en överlägsen datorkraft som är oändligt mycket snabbare än vår tids dator som är uppbyggda av 1: or och 0: or.

I pedagogisk kvalitativ forskning har vi inte mätinstrument som i ett fysiskt laboratorium, hur skall vi finna ett instrument eller kalla det en apparat med vilken vi kan utföra vår forskning. "Det viktiga är vår relation med världen" (Bohr 2013)

Det är här som forskarens kropp blir viktig. Hur kan vi använder vi vår kropp för att upptäcka hur fenomen skapas?

Vi utgår ifrån att kroppen, i likhet med partiklar, strävar efter superposition samtidigt som den strävar efter att koppla ihop och skapa entanglement med andra fenomen. Kroppen har inga gränser för vad den börjar och slutar. För vi skall kunna bevara superposition måste vi sträva efter att undgå att observera och positionerna de fenomen som vi utforskar och vill lära oss något med.

Vad är det hos kroppen som uppfattar fenomens sammankopplingar i den kokta spagettin? Jo, det av kroppens sinnen som uppfattas som affekter. Affekter som blir till innan vi skapar en medveten känsla eller tanke (Massumi 2002).

Begreppet affekt kommer från filosofen Baruch Spinoza (2001) och syftar på att vi inte vet vad kroppen ska göra. En affekt är vad som upplevs innan något är tänkt. Det betyder att kroppen alltid är mer än den kunskap vi har om den, vilket gör att medvetandet inte kan registrera något annat än effekterna av dessa affekter.

Det som kroppens påverkan visar är vad som händer under ett tillfälligt och slumpmässigt kvantsprång. I ett oväntat ögonblick uppstår en insikt som gör att kroppen blir till genom sammankoppling.

Med hjälp av dessa affekter kan vi göra tillfälliga analytiska snitt vilka visar vad som händer när fenomen kopplar samman. För att inte dessa tvärsnitt skall resultera i ett isolerat tillstånd där en mängd data försvinner gäller det att finna språkliga gestaltningar som strävar efter ett fortsatt blivande i den kokta spagettin. Språkliga gestaltningar där form och innehåll inte låser ord och begrepp i motsättningar och dualiteter. Att sträva efter att språkliga gestalta fenomenens blivande utan att förvandla dem till objekt och ge dem en position.

Det finns likheter mellan cellernas arbete för att hålla kroppen uppe och ordens arbete för att hålla världen uppe som språk. Ordet har i princip samma kemi som det som sätter i gång kristalliseringsprocesser. Det är som garntrådar och ord. Med detta vill jag visa hur sammanflätade språk och materia är med varandra. Det är intrasslade med varandra. De kommer båda till med samma värld men deras uttryck kommer att se olika ut. Och de kommer att ha superpositioner tills de observeras.

Vi skapar sammanflätningar mellan materialitet och ord som inte sätter dem i låsta motsägelse. Snarare skapar vi skillnader med språket som kan fyllas med nya sammanflätningar i ett fortsatt blivande. Vilket kan göras med hjälp av ögonblick och händelser där det kan ske ett språng och en sammanflätning.

Karen Barads begrepp wor(l)ding är ett begrepp som tydliggör hur vi är beroende av språket samtidigt som det finns en värld som vi är en del av och blir till med. Språket skall därför inte speglar eller representerar en yttre värld utan hjälpa oss att bli till med den värld som vi delar med andra fenomen som ull, ljud, vatten.

En poet som uttrycker detta tydligt är den Inger Christensen.Det är världen som ställer frågorna. Det är den som undrar över sig själv. Sedan lång tid tillbaka har vi försökt fånga den här dikten och gett den olika namn som poesi eller vetenskap. Inger Christensens dikt vill ha samma relation till världen som ögat har till hennes egen näthinna, som både ser och läser vidare. När jag beskriver världen är det samtidigt en del av världen som betraktar sig själv, säger Inger Christensen (2018)

För att upptäcka detta och lära med fenomens blivande kan vi ta hjälp av kvantsprånget, av ögonblick, händelser och affekter. Med hjälp av dessa kan vi möjligen undgå att observera fenomen så att de ges en position och vi kan nås av insikter om att vi redan är sammanflätade.

Följa fenomens blivande med kroppen. Rikta uppmärksamhet mot de ögonblick som affekterar kroppen. Gestalta detta med ett språk som för upptäckten av fenomen blivande vidare i en fortgående tillblivelse.

Idag använder allt fler forskare kroppens sinne för att metodiskt utforska empiriska fenomen, en inriktning som kommit att kallas för den multisensoriska vändningen (Falkenberg, Sauzet 2023, Myhre, Waterhouse 2023). Där ett haptiska sensorium möjliggör för forskaren att bli till med ett blivande som ständigt pågår. Metodiska tillvägagångssätt som hjälper dem att utforska den mångfald och komplexitet som kännetecknar fenomens blivande med världen. Att med kroppens sinnen lyssna, beröra och smaka på och med de fenomen som utforskas.

Att utforska med kroppens sinnen möjliggör för insikter om hur vi ingår i ett större sammanhang där våra kroppar ständigt flätas samman med andra fenomen. Upptäckten av hur kropp och fenomen flätas samman medverkar till att föra insikter om detta vidare genom olika former av konstnärliga gestaltningar. Formeringar av språk, bilder och annan materia som kan medverka till en insikt om hur kropp och gestaltning blir till men också till ett större etiskt ansvarstagande för den värld som fenomen blir till med.

Ett exempel på detta kan vara att lära med träd och stenar genom att lyssna på olika geologiska tider med en uppmärksam kropp och med ett öra som vidgar sinnen för det som blir till. Forskaren Angela Rawlings (2019) lyssnar till det som hon kallar för ”djup tid” och som sträcker längs den geografiska tidsaxel då jorden blivit till, då berg och djupa hav har formats. Hon gör det genom att förflytta sig längs den Nordatlantiska strandremsan, där hon upptäcker och blir till med temporaliteter med skiftande sammankopplingar som inte enbart varit skapande av människor (Tsing 2015).

Genom att följa en geologisk tid hos materian kommer Rawlings kropp att affekteras på ett annorlunda sätt, vilket också får hennes kunskap om fenomenen att förändras. En större omsorg och närvaro för materian visar sig genom att den ”djupa tiden” för till insikter om hur fenomen kopplar samman och blir till med en värld som ständigt upprepas. Studien visar hur det går att lära sig att ”lyssna på materia” genom att ställa in sig på geologiska fenomen och skalor (Rawlings 2020). Hur lyssnandet fäster kroppen vid ljudet och hur det på så sätt uppstår affekter av skiftande slag. Ljudet som gränsvärde medverkar att nå fram till insikter om hur materia och kroppar kopplar samman (Williams 2021).

Ett annorlunda lärande uppstår på så sätt när kroppar och materia ansluter i en strävan efter att bli till med världen. Vilket möjliggör av ett blivande där människors handlingar är sammanvävda och ständigt i interaktion med all materia. Något som samtidigt skapar etiska konsekvenser för ansvar och omsorg för ett gemensamt blivande tillsammans med materia och naturen.

Det sätt som lärande arrangeras och blir till på, kommer därför att ha en direkt betydelse för möjligheterna att hantera vår tids klimat- och miljöutmaningar. En pedagogik som medverka till att stimulera ett hållbart förhållningssätt som ifrågasätter uppdelningar och dualiteter mellan natur och kultur.

Att träna kroppens sinnen i pedagogiskt situationer kan göras på många olika sätt. Stäng ögonen, lukta, lyssna, kom nära och berör gräs och stenar, vatten och andra fenomen som det skall läras med. Var uppmärksam på stämningar och atmosfärer och lyssna till ljudet av hur barken låter på ett träd och hur frusen is talar på havet en kall vinterdag. Att tillsammans med deltagare träna kroppens sinnen möjliggör för insikter om hur vi ingår i ett större sammanhang där våra kroppar flätas samman med andra fenomen.

ECER 2023: University of Glasgow, Scotland 22 – 25 August 2023.

Superpositions and Entanglement. What happens when a phenomenon is observed?

It happens that I ask myself why I became interested in pedagogy? Something I will then think about is relationships. Relationships between participants, between teachers and students, between supervisor and student (interaction) but also relationships to language, matter, nature, and everything else with which something can be learned (intra-action).

In educational research, relationships have often been studied by putting one before the other object (in positivism) and subject (in hermeneutics). This often leads to a dualism with locked contradictions. Why? To seek answers to this, my research interest has come to be about what enables relationships between phenomena. How do phenomena become? In my research, this has led me to perspectives such as poststructuralism, posthumanism and new materialism, and above all to what we now call the ontological turn. It is by asking questions about and with the world that we can better understand how phenomena becoming.

Recently, I have also drawn inspiration from quantum physics, the science that studies the smallest particles of matter. Particles that randomly move here within and between us and that are something we cannot see with our eyes. Our bodies are made up of trillions of microscopic cells and in the innermost world of the cells the theories of quantum physics apply. The interesting thing about quantum physics is that its exploration of matter is based on ontological questions. Niels Bohr rarely wanted to comment on how the world is, but he realized that the world is profoundly different from our descriptions of it. The problem is that we can never get past our descriptions of the world because these are after all part of the same world (Bohr 2013)

As we try to think with the world, it is therefore necessary to be humble and realize that we cannot come up with the final answer about how the world is. Therefore, in my research, I have chosen to try four assumptions about the world. First, it is a world that becomes through an internal self-differentiation. Second, this self-repetition contributes to the constant repetition of the world. Thirdly, all phenomena arise in the middle of the world. Fourth, the repetition of the world enables phenomena to become into existence by connecting.

That, the world comes into being within itself leads through an internal principle, an inner self-differentiation (Deleuze and Guattari (2015). At the same time, this means that the world cannot observe itself from the outside, which means that the world cannot reflect itself (Christensen 2018) It is the explanation for why the world seeks an answer, it is this answer that phenomena give the world through their becoming (Grosz 2018) To understand how these answers come about, I use three concepts taken from quantum physics, superposition, entanglement and quantum leap.

In classical physics, it was believed that every random event has a cause. A particle can only be in one place at a time. If I roll a die and it shows X, this illustrates a common way of looking at randomness. Using the laws of physics about cause and effect, it would be possible to explain why it becomes X if we know all the circumstances surrounding the die.

Which I will try to show with two dice. When I throw them, they show different numbers, are completely different and, according to classical physics, have no relation to each other. The two events are completely unaffected by each other, and it is random what they will show.

Quantum physics believes that this is wrong and that it is not possible to find an individual explanation for why it became X and X. This is because quantum physics assumes that two events, elements, systems, or networks are connected by what is called entanglement and which can be compared to boiled spaghetti.

If the dice have been connected and are in a state of entanglement, both will show the same number. If one shows 1, the other will show 1 and so on. This is regardless of how far apart they are. Entanglement means that two particles have properties that they get from being connected, which means that they will be either opposite or equal. By being intertwined, they have acquired each other's characteristics. Which means both appear as one, two etc. They have all their possibilities at the same time, 1,2,3,4,5,6.

How can two random processes without causes show the same thing? Are our perceptions of reality wrong? Or are our perceptions of time and space wrong?

Quantum physics' answer is that it is because the dice are in superposition. Superposition means that a particle can exist in many places at the same time. When the particles are separated, they will still be in a state of superposition. The particle can move by choosing all paths between two points simultaneously and information can travel over large distance without taking any time at all.

How then is it that with my eyes I see the dice as two separate entities? Could it be that they were not in a different state before I looked at them? Yes, they were in superposition. It is my observation of looking at them that gives them a position. We can have three, four five dice, it will always be the same result.

The question now is how particles manage to connect through entanglement and at the same time be in superposition? This is where the concept of quantum leaps becomes interesting. When the electrons are in their stationary orbits, the atom emits no radiation. But an electron can jump, take a leap from its current orbit to an orbit with less energy and thus the excess energy is released in the form of radiation, a so-called quantum leap (Bohr 2013).

It is not possible to predict where and when the electron will make such a leap. Nor what the quantum was when it disappeared from one place and appeared in another. It can be in several places at the same time. Sometimes this is done by a very small action from the quantum, other times by something much larger. The quantity of light is so small that it is not possible for anything less to take place, it is what keeps matter going. The leap happens in an instant and what happens on the way cannot be perceived.

Such a jump happens randomly, and it is not possible to know the particle's path, only that at some point a jump will be created that causes them to connect. They can take any path but by pure chance they choose to take a leap (Bohr 2003).

Why? Well, because the smallest particles want to avoid giving each other a position. Using quantum leaps, they form a strong and durable relationship that creates a form of symbiosis between the particles. In this way, they manage to be different while at the same time forming a whole. This is possible as long as they manage to maintain the superposition that allows them to come into existence with the repetition of the world. Something that can continue with quantum leaps until the particles are measured or observed. Meanwhile, and before they are observed, the particles are in many states at the same time, in superposition (Nørretranders 2022).

When particles are observed, they must choose a state and become a position of either 0 or 1. This is when they can be measured as a population, consisting of individual objects, for example as individual trees or individuals. It is the observation itself that contributes to particles going from superposition to position and in a way, dualities are created. When studied now, they are perceived as units, like when I rolled the dice and got different numbers.

With the assumptions that were made about the world, we can now state that particles can become superposition by the world repeating itself in all places at the same time. A repetition that is simultaneously possible for particles to become into existence through entanglement as long as they do not make each other into objects. For these interconnections not to cause them to lose their possibility of superposition, they are created temporarily and randomly.

The question now is whether this apply to all phenomena? Is it a widespread will of phenomena to strive to come into being with the superposition that the world contributes? That, in a similar way as the particles, they strive to come into being with the world without turning other phenomena into objects and thus also not the world into something that can be represented or imaged.

How can we as researchers investigate this without ourselves placing the exploratory phenomena as objects? How can we avoid disturbing the phenomena we explore without ending up in silence ourselves?

We find the answer to this in the temporary moments that contribute to connecting phenomena. To be touched by these random situations, we use our research body. We assume that the body, similarly to particles, strives for superposition at the same time as it strives to connect and create entanglement with other phenomena. These temporary connections can be perceived by the body's senses as affects. Affects that become into being before we create a conscious feeling or thought (Massumi 2002).

What the body's affects show is what happens during a temporary and random quantum leap. At an unexpected moment, a connection occurs that causes the body to come into being through entanglement. This is what can help us with a broadened understanding of how phenomena becoming.

To describe what happens at these random moments, we use what Karan Barad has called an agential cut. When such an incision is made, it is important that we are aware that much data will be lost and that there is a risk of creating dualism. The analysis therefore requires several steps. It is partly about making visible the moment when phenomena temporarily and randomly connect. At the same time, it is important to show how the world, through its repetition, enables the superposition of phenomena. It is therefore important to create designs that both provide space for rhythms and movement while at the same time showing quantum leaps and temporary moments. A design which in turn can point to how intertwined phenomena are of parts (moment) and whole (repetition) at the same time.

It is therefore important to discover that there are similarities between the work of cells to maintain the body and the work of words to maintain the world as language. The word basically has the same chemistry as that which initiates crystallization processes. Writing depends solely on the fact that we are bound by the world to the forms that the world makes possible (Christensen 2000). It is important to strive for a language that can, at the very least, pass on superposition at the same time as they describe how phenomena come about through entanglement. Something that is particularly suitable for this is art and poetry.

It is therefore also interesting to see if the concepts of quantum physics can contribute to developing methods such as autoethnography and a/t/ography. Methods that strive to avoid limiting phenomena to objects. A/r/tography is based on an aspiration to create with a flow and a dynamic that constantly continues, this to avoid dualism. Furthermore, what is specific about a/r/tography is that it focuses on spaces, random movements, moments, and details (Irwin & Springgay, 2008). Seeing a/r/tography as an "investigative process that lingers in the liminal spaces between a (artist), and r (researcher) and t (teacher), thereby coming into being as a moving and fluid form. A becoming which are constantly in motion and help to enlarge, disrupt, and enrich our taken-for-granted understandings of meaning and knowledge (Irwin 2013).

These are practices that should focus even more on ephemeral and random moments. It is with the help of these and with the repetition of the world that a greater understanding can arise about how phenomena become. How phenomena come into being through entanglement and superposition to cope with the challenges and opportunities that the world contributes to, but which often remain hidden in what we already know. Exploring educational phenomena and their relationships may well be inspired by the concepts that quantum physics is developing. In any case, it's worth trying.

Thank you for sharing this moment!

NERA 2023: Oslo Met, 15-17 mars 2023.

Roundtable presentation with Samira Jamouchi and Lap-Xuan Do Nguyen, abstract:

Roundtable as a playroom event and place of artistic becoming

Intro

The roundtable is organised both sequential and organically. We shall have two distinct but interconnected presentations. We inquire relationships between art, artistic teaching, and artistic research through the framework of new materialism and post humanism.

The two presentations are also a visual and oral example of a rhizomatic system between art, pedagogy and research. Bosse, Lap-Xuan and Samira take into action and take into account their works in their on-going process of entangled acts that reveal each other.

First presentation

The first presentation is held by Bosse and Samira. They will present a project about teacher students during their practices in Norwegian primary school. The aim of the project is to initiate a cross-institutional constellation between university college, primary school and the art collective Tenthaus. The aim of the project is to see how artists that work with the public with relevant socially engaged practice can add to, or how it can expend, an understanding of what art can do in school.

The form of their presentation in inspired by their theoretical / philosophical framework: Barad (2007), Deleuze and Guattari (1980), and Haraway (2016). Bosse and Samira will bring yarn/threads and words to the table. The words and threads will be entangled between the contributors and the audience. By doing so the making/playing with objects will facilitate intra-action with the audience to discuss the questions during the finissage (the closing part of the roundtable).

Second presentation

The second presentation will integrate and build on the first one. Lap-Xuan and Samira will present a new phase of their performative talk series called: “When I think about you and…”. Their encounters grow as a rhizomatic network bringing process of exchanging the-knowns be-coming the-unknowns and vice versa. We embrace the intensity of our conversations in artistic talks and the unforeseen, as powerful moments evolving from a known past connected to a together becoming of the experienced moments. It is in this state of becoming as making-with that sympoiesis takes us further.

Finissage

The two presentations will leave traces on the table, as thread, words, objects. It is with the public at we wish to see what becoming can arise in the discussion with the conference attendees.

Paper presentation, abstract:

Superpositions and Entanglement. What happens in the event of agential cuts?

This paper explores what happens when a research process makes agential cuts. The research question highlights the concepts of “superposition” and “entanglement”, which are used in quantum physics to describe the becoming of particles (Zellinger 2010, Nørretranders 2022).

Superposition means that a particle is in many places at the same time. The particle can move by choosing all paths between two points at the same time and information can travel over great distances without taking any time at all.

Entanglement means that two particles have properties that they get from being connected by being either opposite or equal. When the particles are separated, they will still be entangled and have superposition.

Superposition and entanglement mean that it is not possible to describe one particle without simultaneously describing that it is part of a context with the other. They form a whole and cannot be understood to be in and of themselves, if one's condition changes, the other does the same (Nørretranders 2022).

This is something that goes on until the particles are measured or observed. Then the particle must profess existence by choosing a state and becoming a position of either 0 or 1. But in the meantime, and before they are observed, the particles are in many states at once, a superposition. The experiments that are done today with a quantum computer are therefore based on not exposing particles to any kind of disturbance by freezing them at very low temperatures (Nørretranders 2022).

What does this mean when agential cuts are made in a research process? In agential cuts (Barad 2007; Juelskjær 2019), the becoming of the phenomena is disturbed by the articles of which they consist, which contributes to the creation of differences in what constitutes a whole. This contributes to the phenomenon of going from superposition to position and creating a duality between subject and object.

Quantum physics shows that if something changes in one phenomenon, something will occur in the other phenomenon. The guiding methodological question, therefore, becomes: What happens at another place than where agential cuts are set? It is to this that place the researcher must direct the attention. What happens at the opposite poles? If the condition of one changes, the other does so with the same Which makes it possible to understand how the phenomenon becomes by depicting the compositions that connect the phenomena. Something that is methodologically important for the development of agential realism and other perspectives that use agential cuts in their research.

ECER 2022: Yerevan 22 - 25 August 2022

Haptic sensorium: a method for researching phenomena becoming with the world

This paper describes a project that has developed a new method that is called haptic sensorium. This is a methodology that makes it possible to study the emergence of phenomena when bodies and matter connect. Theoretically, the project is in close connection with research in posthumanism and new materialism, and our ambitions have been to create new knowledge in the fields of ethnology and post-qualitative methods (S:t Pierre 2013, Juleskjær 2020). To be able to develop new methods, we have attached particular importance to starting from an ontological perspective.

The research question for this paper is therefore to develop a methodology perspective that is based on an ontology of becoming that is inspired by internal realism (Davidsson 2020, Bergstedt 2021a, 2021b). How can thinking with the world generate knowledge about the becoming of phenomena?

This paper is structured into three parts. The first part describes an ontology of becoming. The advantage is that it assumes that there is a difference between the world itself and how it is described (Grosz 2018). Therefore, it is important to see what the world can do, its functions, and its effects. Deleuze and Guattari assume that the world does not need anything other than what it has in itself; it is neutral and is its cause. The fact that the world can be and is created in itself contributes to an internal principle, an inner self-differentiation Deleuze and Guattari, 2015). A is non-A and A at the same time. This means that what we experience through our bodies and physical senses is the world itself in a concrete and physical sense.

The second part of the paper will describe a method that we called a haptic sensorium. The concept of the sensorium, which comes from the Latin term “sensus”, describes the place in the brain that perceives changing sensory impressions, which include sensation, perception, and interpretation of experiences, both in the body and of other phenomena (Paterson 2009, Juleskjær 2020).

To this sensorium, we bring the concept of “haptic”. Haptic means that the body is directed towards being touched and to touch (Barad 2007, Juelskjær 2019). The haptic ability is important as it provides a physical opportunity to touch the phenomena being explored. By allowing a diversity of the body’s changing sensory impressions to be combined with touch, we arrive at the concept of haptic sensorium. The haptic sensorium helps us in mixing a variety of senses, enabling a wider openness towards the world in which we participate. This allows greater attention to the appearances of unconscious bodily effects during the research processes (Paterson 2009, Bergstedt 2021b).

The third part of this paper shows how phenomena can be explored with a haptic sensorium. Among these, special focus is placed on the phenomenon of sound. Listening to the sound of becoming phenomena opens up new possibilities for understanding how phenomena connect and come into being with the world. We develop a special form av listening to that called multisensory listening, which will assist in creating our understanding of how our bodies are transcorporeal and always more than just human (Alaimo 2012, William 2021).

This is a form of listening that for example can practice by listening to shores, where land and sea meet and mingle. (Rowlings, 2020.) By multisensory listening with sand, rocks, shells, water, wind, and plants, new insights can be created, insights into how matter and bodies connect. Research that can give us new knowledge of how bodies and matter connect and have an ethical implication for awareness of the responsibility and care in human-nature relations.

NERA 2022: Reykjavik, Iceland, 1-3 June 2022

Pedagogy of the moment – where the world evokes knowledge

This paper explores how the moment can say something about the becoming of phenomena and what it can mean for pedagogy. The purpose is to broaden the understanding of the conditions and possibilities of the moment and to contribute to a re-thinking of pedagogy.

The context for exploring the pedagogy of the moment is that more and more theoretical perspectives have come to direct interest in what happens in situations of various kinds, such as Bohr's quantum leap (2013), Haraway's situated learning (1988), Badiou's events, Derrida's differences (1978), Barthe's details (1986), Spinoza's affects (2001), Lacan's leaks (1989), Barad's cuts (2007) and Deleuze and Guattari's rhizome (2015).

Why are situations and events so important? To be able to understand this, an ontological perspective is needed (Bergstedt 2021a) Therefore, this paper describes an internal realism where the world is created in itself (Danielsson 2020). This means that there is a world but the way to create it can take many different forms. The starting point is a world created through an internal principle, an inner self-differentiation itself. A as non-A and A simultaneously (Deleuze, Guattari 2015, Grosz 2018).

This means that pedagogy can be understood from new points of departure. This can be done by broadening the subject and relying on the senses of the body. These are in direct contact with the repetition of the world, which creates great diversity and thus also affects various kinds. In the paper, this is methodically developed in the form of a haptic sensorium (Juelskjær 2020, Bergstedt 2021b).

It helps to develop an ability to point out the moments that enable the discovery of how phenomena become (Barad 2007). Which can lead to a more ethical and less aggressive way of relating to the world than that which has characterized a modern age. The important thing is not to teach knowledge but to point out what it is that makes knowledge become.

NERA 2021: Syddansk universitet, Odense

The rhizomatic sound and deep time listening

At NERA's latest conference in Turku, I present a paper with a title; What is onto-analyses? Since then, I have continually worked on designing the foundations for what I have chosen to call an onto-analysis. It has become important to me when I discovered that in posthumanism and new materialism there was a lack of discussion about ontological positions. If we are to be able to establish ourselves within the academy, it is important to have thought through the whole, from ontology to epistemology and further to methodology and analysis. With the onto-analysis, I hope to be able to contribute to a discussion of our theoretical positions..

Today I want to start by giving a brief introduction to the theory on which I based my onto-analysis. Then describe one example of how sounds can tell us something about how phenomena are created with the world.

The ontology, which I called the ontology of becoming, takes its starting point in the world through which we all necessarily become. Inspiration has been internal realism. The important thing about internal realism is that there is a world and we are in the middle of this world, but the way we try to understand it can be done in many different ways. Every scientific perspective is preliminary, also the one I will present here today.

The conditions for what we can know about the world are limited by the fact that it is something we cannot fully know anything about. What remains is to use our common language and refine this with linguistic terminology to communicate what kind of questions we have asked the world. It is these questions that can say something about what characterizes the world.

To find a possible entrance to talk and think with the world, I start by seeing the world like the waves of the sea, or like a constantly returning background noise; it is what is constantly going on. This world has three characteristics: firstly, this is a world that is within itself and thus cannot be grasped; secondly, it is a world that is created through internal self-differentiation; and thirdly, this is a world that contributes to phenomena being created through formation and mobility.

The philosopher Gilles Deleuze and the psychoanalyst Felix Guattari have pointed out how important it is to see what the world can do, its functions, and its effects. They assume that the world does not need anything other than what it has in itself; it is neutral and is its cause. The fact that the world can be and is created in itself contributes to an internal principle, an inner self-differentiation. A is non-A and A at the same time. It makes the world androgynous. It is the difference in itself and has a recognition of itself by embracing itself.

It is a world that does not see itself as it is. Its inner principle cannot observe itself from the outside. To quote the poet Inger Christensen, “the world wants to see itself”. The world should, therefore, be seen as a substance that has no cause outside of itself. The effects of the self-differentiation of this substance can be likened to a repeated shock with which the world contributes to the forms of phenomena through formations and movements. This shock points out a direction that causes phenomena to occur. This means that the world’s self-repetition should not be seen as a relationship between two units; it is the world itself that, independently of phenomena, encounters these through its inner activity.

This is why we can say that the world is a substance. It cannot be seized or controlled; it is in itself of a nature that has not yet been affected, but which can be created in a free and unforced way. We cannot observe the world, but we can suppose that the world appears in unexpected places and at unplanned times, and it will all take place on a flat surface that does not follow any given order or linear development. This means that the world is repeated in every moment, something that phenomena in one way or another have to relate to.

To be able to form and move, phenomena are created with knowledge of various kinds. This means that the world cannot only be said to evoke phenomena, but also knowledge. Phenomena simply respond to the world with the knowledge they develop when they come into being with the world. They do this by creating connections and relationships with each other.

If we are now interested in exploring how phenomena become with the world, then what should we do? Here is our body most important. A body has no limits on where it starts or ends. This is because our bodies are made up of other living organisms that we would never be able to do without. The constant change in one’s own body prevents us from focusing solely on what can be mirrored and enables discoveries as a world outside ourselves. Therefore, the body will be our research instrument when we wants to discover how phenomena become with the world.

Inspired by educational researcher Malou Juelskjær, I have chosen to call parts of this research instrument a sensorium. The term sensorium comes from Latin’s “census” and describes the place in the brain that perceives changing sensory impressions, which include sensation, perception, and the interpretation of experiences, both in the body and with other phenomena.

To this, we can link the concept haptic. Haptic means that the body is focused on being touched by something unexpected. Physics and feminist Karen Barad uses the term “touch” and says that when we touch and intra-act with other phenomena, we are already in touch with the world. We are already in the world, which is constantly being repeated. Together gives us this to concept a research instrument that we call a haptic sensorium.

One way for the haptic sensorium to discover how phenomena become with the world is with emphasise bodily affects. The term affect comes from the philosopher Baruch Spinoza, and refers to the fact that we do not know what the body should do. An affect is what is experienced before something is thought. This means that the body is always more than the knowledge we have about it, which means that consciousness is unable to register anything other than the effects of these affects. What we in everyday speech call emotions should therefore be seen as conscious experiences of an affect or combination of affects. An affect is thus an impact before this is given a subjective or emotional meaning.

Affections usually include joy and sorrow, but also include wonder. For a researcher, it is therefore important to be curious about the phenomena that are to be explored by not having ready-made answers in advance, and, above all, by being able to marvel at what is happening. What is it about a phenomenon that makes me, the researcher, affected? What happens to my body when I touch and am touched by the phenomena being explored? What do the affects show me?

Instead of focusing on classifying and representing phenomena, a haptic sensorium enables the researcher to follow intensity, rhythm, speed, and tempo. This provides the opportunity to be affected by phenomena, such as difference formation and movement intensity, which, in turn, can lead to unforeseen affects. In this way,the research instrument creates a material practice, and what results from this exploration is what we learn from these practices.

Therefore, when collecting and processing data, it is important to use the many senses of the research body to detect the affects that are created in the body as a result of unplanned connections between the body and the phenomena that are being explored. For the researcher, it is important not to evaluate, but to follow, and to become with what arises together with phenomena. And specially attention for what happens at unplanned moments and events?

To further refine a haptic sensorium as a research instrument, three strategies are added that are valuable for use in exploring the emergence of phenomena. These strategies are aimed at three different phenomena. What characterizes this appearance is that in their becoming, they are close to the world. This means that in these appearances, there is a greater opportunity to explore how phenomena are created with the world. These are open, moving, airy, and volatile appearances that have in common that they do not join as fixed entities, but strive to be close to the world’s self-repetition.

I have chosen to describe this appearance with three concepts: border-phenomena, border-events, and border-zones. Examples of border-phenomena are sound and light, this is a phenomenon that becomes close to the world. A border-events is what’s happens when the world is shown as unplanned moments, and a border-zone is a void or a space where the world called for an answer.

One of the border-phenomena I have chosen to explore who phenomena become whit the world is sound. The philosopher Michel Serres has become particularly interested in the phenomenon of sound, or what he calls “le noice”. He takes his starting point in sound as background noise, which can sound like an alarming noise, chaos, or to hear what is shouted at a football match or a festival concert. The secret lies in this alarm. Noise is like a parasite, says Serres; it follows the logic of parasites. It passes and dies away. Nothing has changed. Therefore, background noise in itself has no basis and cannot be attributed to any identity, but points to what lies behind and below everything else. Nowhere can we hear the background noise as clearly as at sea, writes Serres, who himself was once a sailor. Here, all possibilities are realized at once.

A good example of how sound can be used in the exploration of the emergence of phenomena is Angela Rawling’s Ph.D. and performance series Sound of Mull. Rawlings is interested in listening to what is called “deep time”, which stretched along the geographical time axis when the earth was created, and when mountains and deep seas have been formed. The Anthropocene makes visible how industrial civilization has changed the earth in ways that are comparable to deep-time processes. The planet's carbon and nitrogen cycles, marine chemistry, and biodiversity - each a product of millions of years of slow evolution - have been radically and permanently disrupted by human activity. Temporal and spatial scales are thus being altered, and we need to learn to listen to and understand the world we are part of in a new way to become a response-able part of it.

Angela Rawling does her research with a multisensory listening of matter when she by moving along the North Atlantic shoreline when she walking she becomes several temporalities that have not only been created by humans. By following a geological time in matter, the body will be affected in a different way, which can also cause thinking to change. Greater care and presence for matter are shown through the realization of how everything connects and is created with a world that is constantly repeated.

Listening to matter involves a multisensory tuning that will assist in increasing our understanding of how our bodies are transcorporeal and always more than just human. We can experience how nature and culture affect each other when plastic and other waste products enter the beach. As a result of this, different scales of time, space, matter, and (human and non-human) bodies will gather and intra-act at the beach. The discovery of listening to “deep time” can lead to a greater responsible becoming with nature.

This is also something that can be used in schools' teaching. In a project that we are developing, we initially focus on teacher education. Where students from teachers training programs in practice will study the sound of a beach with its sand, rocks, shells, water, wind, and plants. The purpose of these is to make stories with sounds. To collect sounds during nomadic walks on beaches and to transform this into sound stories with music, pictures, or worlds One way to develop these stories may also be to let the student perform them as a rhizome. This can help them to discover how sound in itself is a rhizomatic phenomenon that is everywhere and that is something that many phenomena for millions of years have used to their becoming.

Such a form of education can make students start asking questions about how phenomena are created, what makes it possible for them to become. Then we are back where we started with the world we are in the middle of and which we become. Listening to sound can therefore be one of many ways to understand how phenomena are created with the world.

NERA 2020: Turku, Finland, 4 mars 2020.

Bosse Bergstedt, Østfold University College, Norway

What is onto-analyses?

This presentation will try to describe what an onto-analysis is and how it works. It discusses the background of the analysis, key concepts, methodology, and empirically used example.

Theoretical onto-analyses is based on a diffractive reading of Karen Barad's agential realism, Gilles Deleuze and Felix Guattari's transcendental empiricism, Michel Serres philosophy, Elisabeth Grosz incorporeal thinking and Donna Haraway's modest witnessing. Methodology onto-analysis work with a research apparatus, based on a haptic optic.

An onto-analysis is a way of thinking about what becomes real. It aims to problematize a perception of reality that is taken for granted. An onto-analysis criticism the view of space and time that characterizes our understanding of reality. What is reality in onto-analyses?

The world is like the waves of the sea, like a constant backdrop of background noise, while being unable to grasp and hold. This world exists everywhere and all the time and contributes to an ever-present diversity. A world that contributes to the emergence of a complex space of non-directional movements, forces, and energies whose effects can never be fully predetermined.

In this days it not so far from a coronavirus, it is a world that created itself through an internal principle, an internal self-differentiation. An expansion and withdrawal at the same time and the same place. The effects of the world's self-differentiation become phenomena's forms, rhythms, energies, cells, viruses, and forces.

It makes the world androgynous, it is the difference in itself, recognition of itself by embracing itself. However, the world cannot see itself as it is its inner principle that cannot observe itself from the outside. The world cannot reflect. (Christensen 2018)

Deleuze and Guattari advocate what they call transcendental empiricism. Everything that emerges in the world does it in the form of something visible and empirical, something that can be observed in some way. At the same time, there is something transcendental, something that cannot be captured. It is this transcendental world that cannot be grasped. On the other hand, it is possible to touch and be touched, respond and participate with this ongoing world. (Deleuze, Guattari 2015)

Similar to Deleuze and Guattari, philosopher Michel Serres says that the world is something in itself, something that can be considered "objective". There is always something "more" that breaks into our way of becoming, which it is necessary to create together with. A form of transcendental objectivity that enables us to function in the same way as all other phenomena and together with them form part of the large complex communication systems that emerge with the worlds in which we live. (Serres 1998)

Let us look at some of the most central concepts for onto-analysis; it is onto-events, onto-noise, onto-lines, onto-cuts, onto-knowledge, and onto-figurations.

Onto-events is a border of events to the unpredictable world but that can make us discover the world. Discovering the moments when the world shows up as an event, a limit, an onto-event. The moment when something unexpected happens that breaks what is taken for granted, which can be, for example, an effect that strikes the body or an unexpected detail that breaks out in a text. When something opens up, a gap, avoid. Examples of onto-events are an accident, natural disaster, or an affected body in love.

Onto-noise is an interface to the world that is chaotic. Michel Serres is described as a "le noice", it can be, for example, a background noise, a noisy noise, chaos. Hear what is being shouted at a football game or a festival concert. The secret lies in this alarm. This chaos sound is primitive as the storm winds of violence have let go.

The noise is a parasite, Serres says, it follows the parasites' logic. It passes and dies away. Nothing has changed. Therefore, background noise in itself has no basis and cannot be attributed to any identity but lies behind and below everything else. Nowhere can we hear the background noise as clearly as at sea, writes Serres, who himself was once a sailor. Here all possibilities are realized at once. (Serres 1998)

Each phenomenon comes into being with the repetition of the world. Which in turn means that the phenomenon will have forms and movements that include differences. It is through these that the phenomenon more or less manages to cope with the relationship with the world. The knowledge that the phenomenon creates to be able to make as differences is what we can call onto-knowledge. Knowledge shares and stabilizes phenomena but knowledge does not sit still. Knowledge comes into being and there is always something no-knowledge in knowledge.

The phenomenon is constantly to the world but also with each other. They are actors who strive for knowledge and meaning, which allows self-organized structures to emerge. Physics Karens Barad points out that phenomena are specific to the circumstances in which they were creating it and where the circumstances are phenomena from previous intra-actions. Intra-actions help create something specific but there is always something that we can’t grab in these relations.

How, then, is it possible to explore these phenomena?

An onto-analysis starts in an interface or boundary event. From there we can make do an onto-cut and follow a phenomenon's formation and movement at what we called for onto-lines. Where these boundary lines lead cannot be said in advance. What characterizes them is that they come into being as an effect of the phenomena becoming with the repetition of the world. Deleuze talks about three forms of boundary lines rigid, molecular and volatile but there are of course many more of them; so many that we can't know them all.

The pattern that these lines create can be embodied in the form of a chart engraving. Where it is a movement that is in focus, a movement that forms a pattern that more or less can be likened to what Deleuze and Guattari called a rhizome.

A figuration that draws attention to a flow that moves in many different directions and thus also to unlimited growth. Unlike the tree as a metaphor, the rhizome has no lifeblood, no roots or synchronous growth. A new rhizome formed in the middle of a tree or as a fold on a branch. This openness means that the rhizome is surrounded by uncertainty because it necessarily contains aspects that at least for a moment are impossible to imagine. (Deleuze and Guattari)

Unlike the map, rhizomes have no beginning or end, but all points can serve as a starting point, it's just about how to orient oneself based on it. From the self-differentiation of the world, there has arisen a fold and a bend that, like a whirl, made it possible for the first phenomena to come into being. Slowly, repetition and folding have been filtered out so that phenomena in Intra-Aktion with other phenomena set themselves in motion and created both forms and forces and energies.

To give one example of one onto-analyses I will now tell you about a museum in Istanbul. With this example, I will show you how bodily emotions and affects interact with matter. To explore this I follow words and things in a novel and at a museum. Orhan Pamuk writes the novel and his museum in Istanbul has the same name as the novel, Museum of Innocence. My reach questions in this study are: How language and other material things can help us to understand how body and matter interconnect. What makes such connections possible? What is the secret of the innocence of objects?

The novel takes place in Istanbul during the late 1970s and early 1980s. Here we meet Kemal Basmaci. Kemal is a well-ordered businessman who has studied in the US. In three weeks, he will be engaged to Sibel. He has gone into a deal to buy her a handbag when he meets the business assistant, the 18-year-old Füsun. A distant poor relative whom he met when he was a child. Now the onto-events happen. Kemal falls in love in Füsun and before the engagement; they spend three passionate weeks in an apartment that Kemal borrowed from her mother. Around them, everyday life in Istanbul is ongoing like an onto-noise in Istanbul, where old traditions change under the pressure of a violent modernization.

Kemal engaged with Sibel and Füsun decides shortly thereafter to end their relationship. She moves with her family to a new house and in the meantime, Kemal's engagement with Sibel was broken. He now begins to search for Füsun and after much searching; he finds her and discovers that she has married. However, he invites and becomes gradually a part of the family and their everyday life. He meets Füsun, her husband and Füsun's mother and father a few days every week. It allows Kemal to be near Füsun in hope that one day she will divorce her husband.

It is during these years that Kemal increasingly begins to collect things and objects. When he visits the family he gradually brings more and more things from the house with him. Everything from hair clips, ornaments, and kitchen things, to the 4213 cigarette smokers that Füsun smoked, touched and left behind. He also saved the earring she wore now he felt the perfect happiness. Among the things is also her floral favorite dress and fragrant soaps.

For eight years, Kemal collects all these things and takes them to his mother's apartment. The house Pamuk later came to buy to convert it into a museum. The Museum of Innocence becomes Kemal's way of preserving its memories and obsession with Füsun. In the museum, these things collected in 83 different wooden boxes, as many as the number of chapters in the novel. Each manifests in different ways Kemal's encounters with Füsun and with Istanbul, from 1950 to 2000. These are clothes, toys, tools, bus and cinema tickets, bankbooks, paintings, photographs, and many other objects. It is possible to see this like a rhizome, with e lot of onto-lines who can connect the 83 different boxes and their material objects in different ways.

It is possible to see Kemal and his collection of things as a process of intra-aktion. However, there is also something more. In Turkish, there is a special word for melancholy " Hüzün". (Pamuk 2012b) There are various ways of interpreting it, but the mystics of Sufism mean that it expresses the mental anxiety or sorrow we feel that we are not close enough to God. At the same time, however, there is an element of happiness in being in the presence of God. Hüzün is a feeling, it considered that it is very important and it is honorable to experience it. For Pamuk, Istanbul embodies that feeling, though without religious signs, a kind of happy, bittersweet sadness. (Pamuk 2006)

This is what Kemal experiences in his relationship with the things that Füsun has touched. Melancholy happiness, of being close but still unable to reach anyway. Something makes it impossible to reach not only with God but also with people and things.

The museum enables entrances to the world or cosmos that, like a substance, exists before and with people, things and nature. (Grosz 2017, Spinoza 1996) A world that temporarily manifests itself in different ways, here as an affection of love. An unplanned, temporary event that breaks through the well-known and conscious. Something that can lead to the discovery that also objects just like humans are something more than objects to be controlled. The world is inherent in matter and matter in the world.

Kemal has experienced a passionate affection for love and at the same time suffered from losing it. It has caused him to discover a sense of Hüzün, he feels that he is not close enough to Fusun but at the same time, he feel an element of happiness in being close to Füsun and to things that she had tough. Hüzün, at the same time, is a word not far from Füsun.

Kemal's experience of physical and spiritual moments means that he discovers that things carry, not only memory but also a secret, they are something "more" than they appear to be. (Massumi 2002) Over time, he becomes increasingly obsessed with collecting things, even after Füsun's death. He continues to visit museums all around the world. On Füsun's birthday on April 12, 2007, Kemal dies of a heart attack at a hotel in Paris.

The world comes into being at every moment and through its self-differentiation. (Deleuze, Guattari 2015) This constantly repeated in everything that comes into being. The world is in itself and cannot be captured or embraced by anything else. Therefore, phenomena must be in the world and at the same time be in distance of it. Things can only come in touch with the word in moments. (Barad 2007)

On the other side, things are not separate objects, they communicate with each other, and they create relationships and interconnections. (Barad 2007) Items that put together in new ways show something that has not been visible before. It is possible because the world touched things and things touched the world. Similar to when Kemel once touched by Füsun.

Karen Barad concept of "touch" as she describes the phenomenon's relationship with the world. To 'touch' is to "already be in touch".[3] Touching and being touched is something that is constantly going on and it did with the help of our thoughts, minds, and body. We are already in the world that constantly repeats itself. It is when we touch and are touched by the world that we discover how it contributes to our and others' future.

Kemal guided by Füsun touches on the relations with things. He discovers how subjects and objects share the world that precedes them. The moments that connect tings are innocent but they at the same time produce something that can release a sense of Hüzün. Things are no longer objects at a distance they are living phenomena that become phenomena together with subjects. It is possible to touch words and things in a way that comes near the world, and that is what we can call Hüzün.

The boundary between fiction and reality is becoming blurred and the power of imagination increasingly alive at the Museum of Innocence. We can see the museum-like an onto-figuration which makes it possible to release feelings of both missing and joy. Missed because the world cannot be caught, the joy of joining everything else that is emerging in the world. The innocent objects allows the viewer to discover what goes beyond the mirror surface. The thing as a bearer of the world as something that cannot discover without at the same time feeling both joy and sorrow.

New Materialism Conference 2019: Cape Town, December 2019

The innocence of objects

Intro

This paper produced at the same time as I worked on trying to develop a philosophical analysis that I came to call onto-analysis. An analysis inspired by reading Barad, Haraway, Deleuze, Serres, and others.

In this paper, I try to focus on how bodily emotions and affects interact with matter. To explore this I follow words and things in a novel and at a museum. How language and other material things can help us to understand how body and matter interconnect. What makes such connections possible? What is the secret of the innocence of objects?

The first part of the paper shows how subjects and objects become phenomena in the Turkish author Orhan Pamuk's novel The Museum of Innocense. The second part of the paper shows how objects get new significance when separated from the symbolic story and take part in a museum with the same name as the novel. The third part discusses what we can learn when we read the novel and the museum together.

Kemal falls in love with Füsun

The novel takes place in Istanbul during the late 1970s and early 1980s. Here we meet Kemal Basmaci. Kemal is a well-ordered businessman who has studied in the US. In three weeks, he will be engaged to Sibel. He has gone into a deal to buy her a handbag when he meets the business assistant, the 18-year-old Füsun. A distant poor relative whom he met when he was a child. Kemal falls in love in Füsun and before the engagement; they spend three passionate weeks in an apartment that Kemal borrowed from her mother. It all takes place in a Turkey where old traditions change under the pressure of a violent modernization.

Kemal engaged with Sibel and Füsun decides shortly thereafter to end their relationship. She moves with her family to a new house and in the meantime, Kemal's engagement with Sibel was broken. He now begins to search for Füsun and after much searching; he finds her and discovers that she has married. However, he invites to the family and gradually becomes part of everyday life with Füsun, her husband and Füsun's mother and father. It allows Kemal to be near Füsun in hope that one day she will divorce her husband.

It is during these years that Kemal increasingly begins to collect things and objects. He visits the family three times a week and gradually brings more and more things from the house with him. Everything from hair clips, ornaments, and kitchen things, to the 4213 cigarette smokers that Füsun smoked, touched and left behind. He also saved the earring she wore now he felt the perfect happiness. Among the things is also her floral favorite dress and fragrant soaps.

A melancholy happiness

In Turkish, there is a special word for melancholy " Hüzün". (Pamuk 2012b) There are various ways of interpreting it, but the mystics of Sufism mean that it expresses the mental anxiety or sorrow we feel that we are not close enough to God. At the same time, however, there is an element of happiness in being in the presence of God. Hüzün is a feeling, it considered that it is very important and it is honorable to experience it. For Pamuk, Istanbul embodies that feeling, though without religious signs, a kind of happy, bittersweet sadness. (Pamuk 2006)

Is this what Kemal experiences in his relationship with the things that Füsun has touched? A melancholy happiness, of being close but still unable to reach anyway. Something makes it impossible to reach not only with God but also with people and things.

Where does this sense of melancholic happiness come from? How is it possible that proximity and distance can exist at the same time? Kemal and Füsun's love story has shown something. The passionate affection of love often comes unexpectedly and unplanned. In a moment of affection, Kemal seemed too united with something larger than he is. This experience Kemal cannot let go, he is obsessed with holding on to it but can no longer reach it. The closest he can get to Füsun is to be close to her when he visits her family and to collect the things that she has touched and been touched by.

In the end, Kemal manages to find his way back to Füsun, very briefly, before death catches them up and he can continue with his collection of things and objects. It is now, after some years he meets the author Pamuk and tells his entire story to him. Pamuk listens to Kemal's story and ends it as Kemal wants with the words "Let everyone know that I have lived a very happy life".

Object is something more

Time turning into Space

Of all the things Kemal gathered, the cigarette smokers reminded him of what Aristotle calls "a moment" (Aristoteles, 2017). Aristotle separated time and the occasional moments that experienced as "present". The moment when the things revealed in the form that the world touches and is touched. From these movements' things and language becoming and stabilized, as form and structure.

The museum, therefore, can said to have two purposes, partly to tell stories about objects and partly to point out their timeless innocence movements. From the top floor of the museum, you can see down through an opening to the ground floor, where down on the floor is a spiral. It shows how time ties the museum's different moments together into a story, not as a line but as a spiral. Kemal's greatest happiness was if the museum could contribute to "see Time turning into Space".[2]

The museum shows how a constant connection between bodies and matter is ongoing. How unplanned and temporary affects can lead to the discovery that everything is somehow connected. Füsun's touch of matter and Kemal's collection. Without the constant repetition of the world, phenomena could not come into being or interconnect. It is possible to connect, moments turn into accumulations, but at the same time, it is never possible to reach all the way, neither to operate inside or to the thing itself. The world turns aside and stay in itself.

It is possible to see the 83 boxes in the Museum of Innocent as entrances to the world that is common for both subject and object. That all phenomena in their becoming relate to the world. A well-preserved secret in both subjects and objects and which is possible to discover now when the world shows up and breaks through our forgettable taken about what is real.

Feelings of both missing and joy

The boundary between fiction and reality is becoming blurred and the power of imagination increasingly alive at the Museum of Innocence. Which makes it possible to release feelings of both missing and joy. Missed because the world cannot be caught, the joy of joining everything else that is emerging in the world. The innocent objects allows the viewer to discover what goes beyond the mirror surface. The thing as bearer of the world as something that cannot discover without at the same time feeling both joy and sorrow. We must humbly submit to this discovery, for this love, language, and matter helps us.

INTRA 2019: Vandalorum, Värnamo, september 2019

The innocence of objects

I Istanbul har den turkiska författaren Orhan Pamuk öppnat ett museum som heter The Museum of Innocense. Ett museum som bygger på hans roman med samma namn. Handlingen utspelar sig i Istanbul under slutet av 1970-talet och början på 1980-talet. Här möter vi Kemal Basmaci.

Kemal är en välbeställd affärsman som studerat i USA och som om tre veckor skall förlova sig med Sibel. Han har gått i en affär för att köpa henne en handväska när han möter affärsbiträdet18-åriga Füsun En avlägsen fattig släktning som han träffat en del när han var barn. Kemal förälskar sig våldsamt i Füsun och före förlovningen tillbringar de tre passionerade veckor i en lägenhet som Kemal fått låna av sin mor. Samtidigt som förberedelserna pågår för Kemals förlovning, har han dessa passionerade möten med Füsun. Det hela utspelar sig i ett Turkiet där gamla traditioner förändras under trycket av en våldsam modernisering.

Kemal förlovar sig med Sibel och Füsun bestämmer sig kort där efter för att avsluta deras relation. Hon flyttar med sin familj till ett nytt hus och under tiden så bryts också Kemals förlovning med Sibel. Han börjar nu att söka efter Fusun och efter mycket letande, finner han henne och upptäcker att hon har gift sig. Han bjuds in till familjen och blir efterhand en del av vardagen tillsammans med Füsun, hennes man och Füsuns mor och far. Det ger Kemal möjlighet att vara näraFüsun i hopp om att hon en dag kommer att skilja sig från sin man.

Det är under dessa år som Kemal allt mer börjar att samlar på ting och föremål. Han besöker familjen ett par, tre gånger i veckan och tar efterhand med sig allt fler av de ting som finns i deras hem. Allt från hårspännen, prydnadsföremål och köksredskap, till de 4213 cigarettfimpar som Füsun rökt, berört och lämnat efter sig. Han har också sparat på det örhänge som hon hade på sig i det ögonblick då han kände den mest fullkomna lyckan. Bland tingen finns också hennes blommiga favoritklänning och väldoftande tvålar.

Kemal samlar under åtta års tid, alla dessa ting och tar dem till sin mors lägenhet. I det hus som Pamuk senare kom att köpa för att bygga om det till ett museum. Oskuldens museum blir Kemals sätt att bevara sina minnen och besatthet av Füsun. I museet finns dessa ting samlade i 83 olika träboxar, lika många som antalet kapitel i romanen. Vart och ett gestaltar på skilda sätt Kemals möten med Füsun och med det Istanbul som blev till från 1950 till år 2000. Det är kläder, leksaker, redskap, buss- och biografbiljetter, bankböcker, målningar, fotografier och många andra föremål.

Vad är det då detta museum visar? En ledtråd kan vara att se närmare på box 54. Här finns många klockor och boxen har fått namnet Time. Här finns också en text som hänvisar till Aristoteles syn på tiden. Aristoteles skiljer på tid och de enstaka ögonblick som beskrivs som ”närvarande”. På liknande sätt som hans syn på atomer ses dessa ögonblick som odelade, obrytbara enheter. Tid är däremot det som binder dem samman.

Att minnas tid är för de flesta rätt plågsamt men om vi kan stoppa tänkandet om livet som en linje och istället värdera vår tid för dess djupaste ögonblick, då blir en linje på åtta år för Kemal lika med 1, 593 lyckliga nätter vid Füsun sida. Det var för att bevara dessa lyckliga ögonblick för framtiden som Kemal samlade denna mångfald av ting, stora och små, som alla kände till Füsun beröring och daterade var och en av dem för att kunna behålla dem i sitt minne.

Av alla ting som Kemal samlade var det cigarettfimparna det som enligt honom själv mest påminde om Aristoteles ögonblick. Ögonblick som flöt samman till en oavbruten ström av tid. Tid uppstår när individuella ögonblick drar ihop sig i sig själva och när objekt gör det samma förlorar de sina berättelser. Det är vid dessa tillfällen som tingens oskuld uppenbaras. Museet kan därför sägas ha två delvis motsatta syften, dels att berätta historier om föremål och dels demonstrera deras tidlösa oskuld. Från översta våningen i museet går det att se ned genom en öppning till bottenvåningen, där nere på golvet finns en spiral. Den visa hur tid knyter samman museets olika ögonblick till en berättelse, inte som en linje men som en spiral. Kemal största lycka var om museet kunde bidra till att ”see Time turning into Space”.

Muséet visar hur det ständigt pågår ett sammankopplande mellan kroppar och materia. Hur oplanerade och tillfälliga affekter kan leda till upptäckten av att allt på ett eller annat sätt hör ihop. Füsun beröring av materian och Kemals samlande. Det är möjligt att koppla samman men det går samtidigt inte att nå ända fram, varken till människan inre eller till tinget i sig.

På turkiska finns ett speciellt ord för melankoli ”Huzun”. Det finns olika sätt att tolka det på men mystikerna inom sufismen menar att det uttrycker den själsliga ångest eller sorg vi känner för att vi inte befinner oss tillräckligt nära Gud. Samtidigt finns det ändå ett element av lycka över att finnas i Guds närhet. Huzun är en känsla som anses mycket viktig och det är hedrande att få uppleva den. För Pamuk förkroppsligar Istanbul den känslan, fast utan religiösa förtecken, ett slags lycklig, bitterljuvt vemod. Är det den som Kemal upplever i sin relation till Füsun och de ting som hon har berört? En melankolisk lycka, av att vara nära men ändå inte kunna nå ändå fram. Det finns något som gör att det inte går att nå ända fram trots att människor och ting kopplar samman och ömsesidigt genomtränger varandra.

Varifrån kommer denna känsla av melankolisk lycka? Hur är det möjligt att närhet och avstånd kan finnas på samma gång? Kemal och Füsun omöjliga kärlekshistoria är dömd på förhand men deras förälskelse har visat något. Den passionerade affekt som en förälskelse är kommer ofta oväntat och oplanerat, som om det är någon som vill visa de förälskade något. I ett ögonblick av affekt tycktes det Kemal som om de var förenade med något som var större än de själva. Denna upplevelse kan Kemal inte släppa, han är besatt av att hålla fast i den men kan inte längre nå fram till den. Det närmaste han kan komma Füsun är att få vara nära henne när han besöker hennes familj och att få samla på de ting som hon har berört och blivit berörd av.

Till slut lyckas det för Kemal att finna tillbaka till Füsun, mycket kort, innan döden hinner ikapp dem och han på egen hand får fortsätta med sitt samlade av ting och föremål. Det är nu han träffar författaren Pamuk och berättar hela sin historia för honom. Pamuk lyssnar till Kemals berättelse och avslutar den också så som Kemal vill med orden ”Låt alla veta att jag levt ett mycket lyckligt liv”.

Museet möjliggör ingångar till den värld eller det kosmos som likt en substans finns före och med människor, ting och natur. En värld som tillfälligt visar sig på olika sätt, här som en affekt av förälskelse. En oplanerad, tillfällig händelse som bryter igenom det välkända och medvetna. Något som kan leda till upptäckten av att också föremål precis som människor är något mer än objekt som skall kontrolleras och styras. Världen är inneboende i materian och materian i världen och det är världen som tillfälligt visar sig i affekter och oplanerade händelser.

Kemal upplevelse av kroppsliga och andliga ögonblick gör att han upptäcker att tingen bär på, inte bara minne men också en hemlighet, de är något ”mer” än de ser ut att vara. Han blir med tiden allt mer besatt av att samlande ting och fortsätter efter Füsun död med att besöka museer runt om i världen. På Füsun födelsedag den 12 april 2007 dör Kemal av en hjärtattack på ett hotell i Paris.

Tingen är inte längre objekt på avstånd de är levande fenomen som det gäller att vara uppriktig i relation med. Konstnären Vincent van Gogh beskriver hur det är uppriktigheten i känslan som är det viktiga i hans målande.

”Är det inte sinnesrörelsen, uppriktigheten i vår känsla för naturen, som är avgörande? Och dessa känslor är ofta så starka, att man arbetar utan att märka det. Ibland kommer penseldragen slag i slag, de följer varandra som orden i ett samtal eller i ett brev, först när vi har forcerat arbetet till det yttersta först då har jag en känsla av livet”

Kemal har upplevt en passionerad affekt och samtidigt en förlust. Det har fått honom att upptäcka en känsla av Huzun, en melankolisk själslig ångest eller sorg av att vi inte befinna sig tillräckligt nära Gud eller om vi så vill tillräckligt nära världen eller kosmos. Samtidigt som detta ger ett element av lycka över att ändå finnas i Guds eller världens närhet. Huzun, är samtidigt ett ord som inte är långt från Füsun.

Det går att se de 83 boxarna i Oskuldens museum som möjliga ingångar till den världen som är med till att kalla fram både människa och föremål. Hur alla fenomen i sitt blivande förhåller sig till världen och blir till med världen utan att de någonsin helt och fullt lyckas med att greppa den. En hemlighet som finns väl bevarad hos både människa och ting och som är möjligt att upptäcka i de ögonblick när världen visar sig och bryter igenom våra förgivet tagna bilder och berättelser om vad som är verkligt.

Tingen är inte avgränsade objekt, de kommunicerar med varandra, de skapar relationer och sammankopplingar. När föremål sätts samman visar sig sådant som tidigare inte varit synligt. Samtidigt finns det hos varje ting något oskuldsfullt som hänvisar till den värld som inte går att greppa. Den värld som visar sig som affekter hos människor, visar sig på liknande sätt som oplanerade och tillfälliga detaljer hos föremål. Sprickor och mellanrum som visar att det finns något ”mer” hos tingen. Här finns öppningar hos föremål till den värld som är dess oskuld, till de ögonblick när tingen är bortom tiden och blir berörda och berörs av världen. Den värld som är inneboende hos tinget och de ting som samtidigt är inneboende i världen.

Aristoteles menade att det gällde att skilja på tid och de enstaka ögonblick som kan upplevas som ”närvarande”. Det är en insiktsfull tanke men jag är inte helt säker på att han hade rätt i att det är frågan om ögonblick som odelade och obrytbara enheter. Den värld som ständigt upprepas i varje ögonblick gör det därför att den är självdifferentierad. A som icke-A och A samtidigt. Det gör att världen är androgynt, det är skillnaden i sig själv, ett erkännande av sig själv genom att omfamna sig själv. Världen möjliggör att fenomen och tid blir till genom en utvidgning och tillbakadragning på samma gång och på samma ställe.

Gränsen mellan fiktion och verklighet blir allt suddigare och fantasins kraft allt mer levande. på Oskuldens museum. Vilket möjliggör att det frigörs känslor av både saknad och glädje. Saknad över att världen inte går att fånga, glädjen över att bli till med allt annat som träder fram i världen. Det finns något mer hos tingen, det oskuldsfulla ger betraktaren en möjlighet att upptäcka det som går bortom den speglande ytan. De oskuldsfulla hos tingen, där varken objekt eller subjekt finns. Tingen som bärare av världen som något som inte går att upptäcka utan att samtidigt känna både glädje och sorg. Vi måste ödmjukt överlämna oss till denna upptäckt, med det hjälper oss kärleken, språket och materian.

Abstract - tidskrift

Pedagogies in the Wild – Entanglements between Deleuzoguattarian Philosophy and the New Materialisms (2020)

When the world calls for knowledge

This article is based on the fact that when phenomena create knowledge, at the same time the world expresses itself. A wild pedagogy will be based on an ontology where the world is like the eye that cannot see its own retina. The world becomes itself (Deleuze, Guattari 2015) at the same time that it evokes knowledge, ontology, and epistemology are thus interconnected (Spinoza 1996, Barad 2007, Braidotti 2013, Haraway 2016, Grosz 2017, Juleskjær 2019 and others). Phenomenon with there language is part of the world so when the phenomenon expresses themself, the world also expresses itself. (Christensen 2000, 2018)

The article aims to show how the world expresses itself through a variety of phenomena, which are created as forms and movements in an intriguing complexity. The research question explores how the phenomenon comes into being at the same time as the world is expressing itself. How do knowledge and learning form a part of the process in which the world expresses itself through phenomena?

The article tries to show this with introduces an onto-analysis. It will discuss the background of the analysis, key concepts, methodology, and empirically used example. Theoretical onto-analyses is based on a diffractive reading of Karen Barad's agential realism, Gilles Deleuze and Felix Guattari's transcendental empiricism, Michel Serres philology, Elisabeth Grosz incorporeal thinking and Donna Haraway's modest witnessing.

The world is like the waves of the sea, like a constant backdrop of background noise, while being unable to grasp and hold. (Serres 1998) This world exists everywhere and all the time and contributes through its presence to what may appear to be one becomes two in an ever-present diversity. A world that contributes to the emergence of a complex space of non-directional movements, forces, and energies whose effects can never be fully predetermined.

It is a world that created itself through an internal principle, an internal self-differentiation. It makes the world androgynous, it is the difference in itself, recognition of itself by embracing itself. (Deleuze, Guattari 2015) An expansion and withdrawal at the same time and at the same place. This constantly repeated in everything that comes into being. However, the world cannot see itself as it is its own inner principle that cannot observe itself from the outside. The world cannot reflect but the effects of the world's self-differentiation become phenomena's forms, rhythms, energies, cells, viruses, and forces. (Bohr 2013, Barad 2007, Grosz 2017)

Deleuze and Guattari advocate what they call transcendental empiricism, where what is created in reality is constituted and conditioned by a field that is built up afterward. An immanent plane, which is neither merely given nor something merely transcendental and transcendental. Nothing is hidden, there is no God or anything in advance given a unified phenomenon like nature, man or consciousness. (Deleuze, Guattari 2015)

Rather, it is that the immanent plane emerges from what can be perceived as chaos in the form of a non-directed and constantly repeated world. A part of this chaos consists of a number of phenomena. Everything that emerges in the world does it in the form of something visible and empirical, something that can be observed in some way. At the same time, there is something that is transcendental, something that cannot be captured. It is this transcendental world that cannot be grasped. On the other hand, it is possible to touch and be touched, respond and participate in this ongoing world. (Deleuze, Guattari 2015)

Similar to Deleuze and Guattari, Michel Serres sees the transcendental as something in himself, something that can be considered "objective" in the midst of what appears and can be observed. (Serres 1998) There is always something "more" that breaks into our way of becoming, which it is necessary to create together with. A form of transcendental objectivity that enables man to function in the same way as all other phenomena and together with them form part of the large complex communication systems that emerge as the worlds in which we live.

From this discussion of ontology, this article presents the most central concepts for an onto-analysis is onto-events, onto-noise, onto-lines, onto-cuts, onto-knowledge, and onto-figurations.

The article's examples are based on too selected experimental pedagogical situations, affected bodies and material at the author Orhan Pamuk's Museum of Innocense in Istanbul (Pamuk 2012 ) and the world's desire to see itself in Inger Christensen's poetic language (Christensen 2000, 2018)

The onto-analytic research apparatus works with a haptic optics, focusing partly on the formation of phenomena and partly on the movements of the phenomena. The world expresses itself in different ways, including unexpected events. Here, inspiration is drawn from Niels Bohr's discoveries in quantum physics (Bohr 2013, Barad 2007) In the analysis, one of the focus is on how intra-aktion created phenomena and how phenomena created intra-aktion. (Barad 2007, Juleskjær 2019)

The observations start in the middle of the phenomenon in order to be able to follow the phenomena 's relations with the world in an ever-repeated repetition. It will be described as a rhizome in the form of manifold complexity, a boundless system that is self-organizing and collectively producing. (Deleuze, Guattari 2015, Haraway 2016) When movements and shapes are brought together in a rhizome, it becomes a mess of lines and formations. The purpose of rhizomes as a figure is to make visible how phenomena produce knowledge and learning while contributing to the expression of the world. This will give a figuration of how a wild pedagogy can work.