This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...) of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience. (shrink)

In exploring skilled performance in Contact Improvisation, we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and (...) gravity. We draw on insights from an interdisciplinary approach, including from a developmental perspective concerning the experience of dyadic interpersonal embodied skill development in both infancy and CI. Building on Ravn and Høffding’s definition of expertise in improvisation as an “oscillatory process of assuming and relinquishing agency” we propose that a key aspect of expertise in CI involves oscillation between levels and processes of interkinaesthetic sense of agency. These interdisciplinary insights also elucidate limitations within current conceptualisations of sense of agency, including the relationship between sense of agency and sense of control. (shrink)

In this chapter, I consider three ‘promises’ of bringing phenomenology into dialogue with networked learning. First, a ‘conceptual promise’, which draws attention to conceptual resources in phenomenology that can inspire and inform how we understand, conceive of, and uncover experiences of participants in networked learning activities and environments. Second, a ‘methodological promise’, which outlines a variety of ways that phenomenological methodologies and concepts can be put to use in empirical research in networked learning. And third, a ‘critical promise’, which suggests (...) how work done in the realm of critical phenomenology is complementary to and useful for exploring the social justice and emancipatory aims of networked learning researchers. Through this framework, I reflect upon multiple ways in which phenomenology has and might continue to fruitfully inform and shape networked learning research. In doing so, I emphasise that deploying phenomenology in the context of networked learning not only enriches our understanding of networked learning but that phenomenology itself is enriched through testing, finetuning, and expanding its methods, concepts, and understanding, as well as unveiling its own limitations and constraints. (shrink)