[Sondra Perl]

in reply to: Karyna's response #880

Beautifully said, Karyna. “Revelation and lamentation” — something gained and something lost.I not only wonder what ‘that’ is — if you stayed with the murkiness of that and let it speak, ‘dwelling’ longer in the discomfort until words come to express it — and what it would look, feel and sound like if you portrayed it in a digital format?

[Sondra Perl]

in reply to: Hilarie's Response to Shipka #879

All fascinating.
In regard to this statement, “The experience of writing phenomenologically about Van Manen – something, I have to admit, I didn’t immediately realize I was doing – brought home even more poignantly the way that writing connects to the body in both a felt sense way and in an emotional way,”
I would make the following adjustment:
I don’t think you were writing phenomenologically ‘about van Manen’ so much as writing phenomenologically about phenomena in your life, your life experience. There is no better tribute to his ideas than to enact them. That is what you did. You brought the reader inside your felt experience so that we, too, could experience it and of course this called on felt sense — for reader and writer.

[Sondra Perl]

in reply to: Robert’s Shipka Post #878

That’s great to hear, Robert. For me the seminar, harkening back to our first session and Giamatti, had a ‘potential,’ ‘a craving of realizations…’ and so on. Your reflection leaves me feeling as if the potential, if not fully reached was at least approached, that there were and are realizations that will continue, and that you are leaving with an enlarged understanding of digital media and composing. Id say that’s a good semester’s work.

[Sondra Perl]

in reply to: Ryan's response #876

It’s interesting to think of ‘carving’ in time and space — such a literal word to use to describe an action on phenomena that are neither solid nor material. Perhaps this leads to the notion of the body extended into time and space thru digital compositions.

[Sondra Perl]

in reply to: Shona's Response to “Shipka, last chapter from _Toward a Composition Made Whole" #875

Very well said, Shona. Great synthesis of the seminar and its impact on you.

[Sondra Perl]

in reply to: Van Manen and Reflection #804

So beautiful and evocative and loving, induing wonder in me for sure. I couldn’t say it any better than Sean does above. Wonderful phenomenological writing.

[Sondra Perl]

in reply to: Karyna's Response #770

I think the movements between felt sense and image are more fluid than lock-step….I think one can occur before the other in either direction and they can also co-occur. What’s needed is the patience to quiet down and look inward to see what might come. And to ask questions of oneself (which may mean that the inner words evoke the space of felt sense.)

I agree with you that we carry others’ voices with us all the time and certainly when we write.Van Manen’s notion of the solitary writer is, I think, based on his experience of feeling responsible to the text and to readers as in “Yes, I said this; these are my words, my values, my story. I offer what I wrote as a stand I am taking about the world, about myself.” Not to deny that what he says comes from many places but to claim a kind of ownership.

[Sondra Perl]

in reply to: Yana's Van Manen Reponse #769

I love all the varied meanings of ‘draw.’

[Sondra Perl]

in reply to: Nolan's Response #768

Great image, Nolan. I also love the phrase “a questioning wonder.” Phenomenological texts, van Manen seems to be saying, are there to induce wonder, not certainty. Response, answerability….dialogue.

[Sondra Perl]

in reply to: phenomonology #767

You’d have to explain where you see this in van Manen (as I don’t):
“Second, it is surprisingly rigid, locked into the idea that we should be moving to the “right” words and phrases, that there is a single correct path there for us to find. Hmmmm.”

?

[Sondra Perl]

in reply to: Ryan's Response #766

Regarding ‘next steps’ with your writing, you might want to ask yourself, in a felt sense way “What’s in the way of figuring this out? What’s the heart of this dilemma for me?” and see what comes from your body. Remember to wait patiently until something comes and then ask, “Is this right?” and so on.

[Sondra Perl]

in reply to: Hilarie's van Manen Thoughts #765

Lovely restatement of ‘dwelling in the space of a text” and the fleetingness of expression, absence and presence.

[Sondra Perl]

in reply to: Shona's Response to Van Meenan "Writing, Drawing, & Entering" #764

Lovely and thoughtful, Shona. Feels very apt to me, esp. the discussion of what happens when we move from pen and paper to digital media.

[Sondra Perl]

in reply to: Gendlin TAE Response #737

Yana,
What makes most sense to me here is the idea of never exhausting the felt sense as in ‘having said it all’ — which is never true. There is always ‘more.’ And you last idea about humans AS interactions. These seem apt to me.

But I think we are deep enough into Gendlin to make the following distinction. He is not talking about feelings that generate language. He is inviting us to consider something that is prior to feelings (and language) which he refers to as felt sense. And he is not asking us to get away from language.

So this sentence: “We start with a feeling and use language as a vehicle to get away from language and back to the feeling. It may not be accurate, but it’s evocative, and that’s better than right/wrong,” is not, in my understanding, an accurate restatement of Gene’s thinking or experiential process as we have been pursuing it. Rather than restate here, I’d ask you to read Peter Elbow’s intro to Felt Sense and the first and third chapters again.
🙂

[Sondra Perl]

in reply to: Robert's Post #736

Several responses:
1. A course on ‘iniquity’?
2. Nolan’s critique: ditto what I wrote to him.
3. Great quotes from Gene. It ‘heartens’ me(note my response to Hilarie) that you have located 5-6 points from Gene that seem to resonate with you. I’m not sure you could have done so a few weeks ago. Or at least it seems to me that you have grown in your appreciation of Gene’s work.
4. You write: “by illustrating the many faces of restriction, these bridges attack monolithic assumptions about language. An alternate mode of expression implies another and opens the possibilities of unique expressions. If possible, I want to capture this energy in my course, find a way to show my students not only that the genres of academic discourse exist but also that their existence validates the possibility of new forms, forms that my students can both use and create.” I’m not sure I follow — but this could be where you are sensing something new and need to think at the edge of these ideas. What do you want the work ‘bridges’ or the word ‘form’ to mean?

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