Be(com)ing “In-Resonance-With” Research: Improvising a Postintentional Phenomenology Through Sound and Sonic Composition

Abstract

Scholarship in postqualitative research has long examined the constructs of orientation and experimentation. How do we come to know and name experience? How do we value its matter as a form of mattering. Combining perspectives from phenomenology, feminist new materialisms, and sound studies, this article traces the intra-active encounters of the Museum of Contemporary Art–Detroit’s (MoCAD) performance of John Cage’s “How to Get Started.” Reading postphenomenological inquiry as improvisation, the article underscores that phenomenological ontologies are always already a be(com)ing, and that qualitative research more broadly is inherently an act of being “in-resonance-with.”

The Sonic Meanings of the Life and Death of My Disabled Brother: Listening as a Method for Qualitative Research

“…In addition to paying heed to sounds and listening in data gathering and analysis, some authors (e.g., Gershon, 2013Gershon, , 2018Wargo, 2019) have used sounds in communicating the results, for instance, by adding soundtracks to written text in order to reveal the context of research as well as layers of meaning not attainable through mere text. The seminal work on anthropology of sound Voices of the Rainforest: Bosavi, Papua New Guinea by Steven Feld (1991) is at once a critical anthropological artifact and a piece of art.…”

“…While listening to the voices and stories of patients, caregivers, and medical personnel is an essential skill of health personnel (McKenna et al, 2020; Thompson, 2014) and an important source of information in qualitative health research, listening as a way of inquiry, including the epistemological aspects involved, has not gained attention in qualitative health research. However, the need to apprehend auditory signals is recognized in many fields and there are emerging branches of literature focusing on sound in philosophy and aesthetics (e.g., Ihde, 2007; Nancy, 2007; Voegelin, 2010, 2014), anthropology (e.g., Feld, 2015, 2017; Henley, 2007), and qualitative research (e.g., Daza & Gershon, 2015; Gershon, 2013, 2018; McRae, 2015; Wargo, 2019). Based on the influential yet highly debated concept of soundscape, introduced by Canadian composer Murray Schafer (1977, 1994), an entire field of study, soundscape studies (Järviluoma & Wagstaff, 2002), focusing on the connection between human beings and their sounding environments has emerged.…”

Chapter 17. Research Remix: Soundwriting Studies of the English Language

“…Sound studies has become a strong interdisciplinary field in which scholars from a variety of disciplines have studied sound production and reception from a variety of critical perspectives (Gunn et al, 2013;Lingold et al, 2018;. And in rhetoric and writing studies, scholars have now argued persuasively that sound deserves our attention for rhetorical analysis and theory (Comstock & Hocks, 2016;Eckstein, 2017;Goodale, 2011;Hawk, 2018aHawk, , 2018bKjeldsen, 2018;Lambke, 2019;Rickert, 1999;Stone & Ceraso, 2013;, scholarly research methods and production (Ball, 2004;Carson, 2017;Detweiler, 2018;Wargo, 2020;Wargo et al, 2021), and, importantly, for this book here, pedagogy (Ahern, , 2018Alexander, 2015;Ball & Hawk, 2006;Bowie, 2012aCeraso, , 2018Ceraso, , 2019Ceraso & Ahern, 2015;Comstock & Hocks, 2006;Davis, 2011;Detweiler, 2019;Faris et al, 2020;Folk, 2015;Greene, 2018;Hawkins, 2018;Klein, 2020;Sady, 2018;Stedman et al, 2021).…”

Sound, Sentience, and Schooling: Writing the Field Recording in Educational Ethnography

“…Though some work has emerged related to how sound (as a mode and a material) and aurality (as an affective stimuli) impacts qualitative methods for social science research (see Wargo 2018, 2020; Chávez 2017; Duffy et al 2016; Gallagher et al 2017; Gershon 2013; Shannon and Truman 2020; Weheliye 2005), few have examined how the sonic is taken up in the ethnographic writing of the field (Brownell 2019). Our goal in this article, thus, is twofold.…”