Among his other contributions to advancing our understanding of classical American pragmatism and, in particular, Charles S. Peirce, none is more worthy of our attention than Richard S. Robin's characteristically painstaking attempt to address the puzzle of Peirce's "Proof" of pragmaticism.1 In this as in so many other respects,2 he shows himself to be, in effect, the student of Max H. Fisch (see especially 1986, chapter 19).3 There are hermeneutical traditions as well as philosophical ones and often the former are (...) integral parts of the latter. This is certainly the case regarding pragmatism. A deeper or better understanding of the inaugural figures in this philosophical movement is taken, by the interpreters of.. (shrink)

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical studies, we unfold this theory for one (...) such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. (shrink)

Phenomenology is explored as a way of helping students and educators open up to music as a creative and transformative experience. I begin by introducing a simple exercise in experimental phenomenology involving multi-stable visual phenomena that can be explored without the use of complex terminology. Here, I discuss how the “phenomenological attitude” may foster a deeper appreciation of the structure of consciousness, as well as the central role the body plays in how we experience and form understandings of the worlds (...) we inhabit. I then explore how the phenomenological attitude may serve as a starting point for students and teachers as they begin to reflect on their involvement with music as co-investigators. Here I draw on my teaching practice as a percussion and drum kit instructor, with a special focus on multi-stable musical phenomena. To conclude, I briefly consider how the phenomenological approach might be developed beyond the practice room to examine music’s relationship to the experience of culture, imagination and “self.”. (shrink)

In this paper we outline a theoretical account of the relationship between technology and human musicality. An enactive and bio-cultural position is adopted that assumes a close coevolutionary relationship between the two. From this position we aim at clarifying how the present and emerging technologies, becoming embedded and embodied in our life-world, inevitably co-constitute and transform musical practices, skills, and ways of making sense of music. Therefore, as a premise of our scrutiny, we take it as a necessity to more (...) deeply understand the ways that humans become affiliated to the ever-changing instruments of music technology, in order to better understand the coevolutionary impact on learning and other aspects of musicality being constituted together with these instruments. This investigation is particularly motivated by the rapid and diverse development of mobile applications, and their potential impact, as musical instruments, on learning and cognizing music. The term appification refers to enactive processes in which applications (i.e., apps) and their user interfaces, developed for various ecosystems of mobile smart technology, partake in re-organizing our ways of musical acting and thinking. On the basis of the theoretical analysis, we argue that understanding the phenomenon of the human-technology relationship, and its implications for our embodied musical minds, requires acknowledging (1) how apps contribute to conceptual constructing of musical activities, (2) how apps can be designed or utilized in a way that reinforces the epistemological continuum between embodied and abstract sensemaking, and (3) how apps become merged with musical instruments. (shrink)

In joining Higgins’ music and emotion conversation I broaden the scope to consider the music–emotion nexus as a more dynamic, complex, contextual system of interactional experience. The music itself cannot be interpreted for what it does alone. We need to consider how musical experiences—understood holistically—may compel people to emotional experience, emotional work which is interwoven with context, aesthetic materials, and participating individuals.

Among improvisers and composers today there is a resurgence of interest in experimental music (EM) practices that welcome contingency; engaging with unforeseen circumstances as an essential component of the music-making process, and a means to sonic discovery. I propose theExperimental Composition Improvisation Continua(ECIC) as a model with which to better understand these experimental musical works. The historical Experimental Music movement of the 1950s and 60s is briefly revisited, and the jazz tradition included as an essential protagonist; both being important historical (...) movements leading to the formulation of ideas around contingent musical practices. The ECIC model is outlined as providing a means to observe the interactions and continua between composition and improvisation on the one hand and more or less experimentally conceived music on the other. This model is applied as an investigative and comparative tool to three distinctive works in order to illuminate the presence or otherwise of various experimental interactions within them. The works are: “Spiral Staircase” – a composition by written by Satoko Fujii in late 2007, John Cage’s4′33″, and a performance of “My Favorite Things” by the John Coltrane Quartet. Further possible applications of the ECIC are suggested in the conclusion. (shrink)

Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...) music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety. (shrink)

This article questions educational practices that undermine ‘being’ musical. Where Western misconceptions about the nature of human musicality distance many individuals from meaningful engagement with an intrinsic part of their humanity, I challenge the status quo to argue for an inclusive educational practice which gives everyone an opportunity to ‘be’ musical. Despite evidence from neuroscience now supporting the understanding that humans are a musical species, the widespread neo-liberal oriented focus on vocational training fails to recognise music as an essential aspect (...) of healthy human being. Where current polarised music education provision supports a discriminatory system that leads to widespread underdeveloped musicality, I draw on Gadamer and Dewey to explore how musicking integrates cultural development and to question the value of a practice that leaves many of us musically disabled. Including examples of teaching practices that engage and transform, I argue the case for an enriched, broader curriculum that no longer sees music as a ‘frill’. (shrink)

The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...) seen in use; thus, it seeks to ‘make a difference’ that students and society find musically noteworthy. (shrink)

There is increasing interest today in how the arts contribute to individual and community wellbeing. This scoping review identified and examined ways in which the arts have been used to address wellbeing in communities in the United States. The review examined 44 publications, with combined study populations representing a total of 5,080 research participants, including marginalized populations. It identified the types of artistic practices and interventions being conducted, research methods, and outcomes measured. It highlights positive associations found across a broad (...) spectrum of psychological, physical, and social outcomes, including improvements in self-esteem and identity formation, cognition, physical balance, and physical conditioning. It also reports negative outcomes of arts interventions that may be underreported. The study identifies the need for core outcomes sets and reporting guidelines for advancing evidence synthesis in this area. (shrink)

This study investigated individuals with adventitious visual impairment acquired during adulthood through a traumatic event, for an in-depth and contextual understanding of the factors and processes that led to positive changes in their post-traumatic growth. The life history method was applied on 15 individuals with AVI through in-depth interviews about their life. The study’s analytical framework involved three domains: dimensions, turnings, and adaptations of life, as proposed by Mandelbaum. The results revealed the following key factors: of the dimensions of life—family, (...) rehabilitation center, and music groups; of turnings of life—positive change through awareness and tolerance of impairments, new challenge posed by rehabilitation training, and finding inner resources through music; and of adaptations of life—accepting one’s life in a harsh social environment, actively establishing relationships with others as an individual with visual impairment, and re-finding meaning of life through musicing. This study contributes by revealing the role of each of the above-mentioned factors and identifying their correlations. The results suggest that musicing may help individuals with AVI develop empathy and engage in social communication through active self-disclosure. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. The (...) presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

In the 1980s, new reproductive technologies such as in vitro fertilisation and embryo transfer became commercially available in the United States, and somatic cell nuclear transfer—the cloning process by which Dolly the Sheep would be conceived in 1996—was in its experimental phase. While anxieties concerning these new technologies escalated in the popular sensorium, Laurie Anderson explored the phenomenon of cloning in a short musical film called What You Mean We? (1986) in which Anderson consults a design team to clone herself (...) in order to manage her demanding workload. The videographic image of the clone is Anderson herself, performing in drag, and her clone’s body is partially created through the use of a pitch shifter which changes Anderson’s voice to that of the cloned—but ostensibly male—version of herself. In this article, I investigate Anderson’s technological consideration of the body, which extends beyond her own corporeality, to interrogate the biological and affective capacities of clones. I consider how Anderson addresses the convergence of reproductive technologies, the market and the creation of subjects within this market as participating in a shift in how voices are heard, governed and reproduced in the latter half of the twentieth century. (shrink)

In this paper, I argue that brain death is death because, despite the appearance of genuine integration, the brain-dead body does not in fact possess the unity that is proper to a human organism. A brain-dead body is not a single entity, but a multitude of organs and tissues functioning in a coordinated manner with the help of artificial life support. In order to support this claim, I first lay out Hoffmann and Rosenkrantz’s ontological account of the requirements for organismal (...) unity and summarize an earlier paper in which I apply this account to the brain death debate. I then further support this ontological argument by developing an analogy between the requirements for the unity of an organism and the requirements for the unity of an orchestra. To do so, I begin by examining the role that a conductor plays in unifying a traditional orchestra, and then go on to show that the human organism functions like a traditional orchestra that relies upon a conductor for its unity. Next, I consider the conditions required to achieve orchestral unity in conductorless orchestras and show that, in contrast to simpler organisms like plants, the postnatal human organism lacks those conditions. I argue, in other words, that although conductorless orchestras do exist, the human organism is not one of them. Like a traditional orchestra without a conductor, the brain-dead body is not a unified whole. (shrink)

This paper examines the role of performance in law and music as a structural means of their self-programming construction. Music and law are considered as parallel social practices or performative doings. The paper begins with a critical analysis of the special aesthetical features of present-day juridical practice as exemplified by legal trial and legal expertise. Drawing upon reflections on the modern discourse on aesthetics and art, the article then examines in greater detail the specific traits of performance in law and (...) jazz music. Performative processes move from representation to presentation, from a preoccupation with rules and controlling to induced self-programming. Both law and jazz regard the unknown future as a resource for present decisions by “inventing” new possibilities; both require, expand and promote a responsibility that does not follow from statutes nor can be expressed in a code of ethics. Finally, the article addresses the performance situation in jazz. Jazz being polyphonic and improvisational by nature, improvisation makes explicit tradition by staging the context dependency of its performance. It is mediated by the knowledge, the operational history and the communication of the participants. Jazz is an exercise in the possibilities of an “aesthetics of imperfection” which can open up new ways of seeing law and politics. (shrink)

Group musical performance, especially large instrumental ensembles, present the outward appearance of an asymmetric, temporally immediate stimulus-response relationship between conductor and ensemble. Interestingly, anecdotal reports from both conductors and performers indicate a degree of variability in the timing of orchestral response to the conductor’s gestures. This observation is not present in anecdotal accounts of other instrumental ensemble settings, like wind bands, but commonplace occurrence among orchestral musicians indicates the potential presence of greater complexity in the observed relationship. This study investigates (...) both the quality and quantity of temporal lag between conductor and ensemble in two common instrumental ensemble configurations – wind bands and orchestras – in an effort to describe the interplay present within conducted group performance. The findings indicate that the anecdotally identified lag is present within all ensemble types, and that it presents a flexible, dynamic temporal relationship between conductor and ensemble. Additionally, both the quantity and quality of lag values are significantly different between ensemble types, experience levels, and musical content. Several avenues for future research are identified, and confounds within the sampled ensembles are examined for their potential roles in the observed relationships. (shrink)

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...) things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life. (shrink)

Trauma’s ubiquity in society leads to an acknowledgement that damaging experiences likely affect more students than they leave untouched. Dewey acknowledged the importance of the past throughout his theorizing of experience and simultaneously recognized that students need to draw upon past experiences in new learning encounters. In this paper, we argue that Dewey may have opened the door to account for the possibility of traumatic experience affecting learning. We acknowledge the potential of music to prompt a trauma response and seek (...) to explore ways that music education may also provide a mechanism for working through difficult and traumatic pasts. (shrink)

This article explores the rhythmic body with the example of the embodiment of the ‘bashment gal’ and the role she plays in the dancehall sound system session. It considers rhythm as an energetic patterning process operating both within and between media. Rhythm provides a means of communication and making sense that does not rely on representation or code. There are three elements to performance techniques of the rhythmic body – amplification, inflection and transduction. Amplification for the bashment gal’s performance techniques (...) involves increasing the size or effort of her dance movements, dancing in a chorus line accelerating her tempo. In what is considered as a hyper-sexualized arena of the dancehall session, it is argued that the bashment gal has to be understood in terms of African traditions where sexual pleasure and fertility are not separate. With rhythmic inflection the bashment gal gives distinctiveness to her performance, as is much prized in the style and fashion of the dancehall scene. The transduction of patterning from one medium to another, via tympanic surfaces, helps to forge the sound system session and the bashment gal as a rhythmic whole and fosters her sense of identity as a rhythmic body. (shrink)

Assuming live music can foster belonging in the workplace, this study linked companies in the secondary and tertiary sectors with the world of music performance. Specifically, students from a Swiss music university offered live mini-concerts on the premises of three companies over a period of 3 months. To analyze the impact of these brief musical interventions on the sense of belonging of staff in these companies, a mixed methods approach was adopted using a standardized questionnaire. The short concerts were much (...) appreciated. On the individual level, they led to a greater sense of pleasure and were perceived as a break, a possibility to connect to one’s emotions and above all, as a “moment for oneself.” On the group level, the short concerts allowed the members of teams to meet, prompted conversations and new ways of sharing, created links, and offered opportunities to get to know work colleagues differently and to discover them on a more personal level. (shrink)

This paper will philosophically extend Julian Leff’s Avatar therapy paradigm (AT) for voice-like hallucinations that was initially proposed for treatment-resistant Schizophrenia patients into the realm of gesture-enhanced embodied cognition and Virtual Reality (VR), entitled g+TA (gesture-enhanced Avatar Therapy). I propose an philosophy of technology approach of embodied rhetorics of triadic kinetic “actions” in the sense of Charles Sanders Peirce that transforms the voice hallucination incorporated by an avatar- and that can confront acousmatic voice-like hallucinations with a method of gesture synchronization (...) and dyssynchronization and gestural refusal of interaction that the player with the Avatar can resist in full embodiment. This paper therefore introduces a gesture-enhanced, extended version of Cybertherapy with Avatars that tackle multimodal bodily experience of voice-like hallucinations beyond mere visual or auditory stimulation. This is put forward theoretically in a 4E-cognition approach that expands Avatar Therapy with gestures into VR. (shrink)

What do musicians, critics, and listeners mean when they use emotion‐words to describe a piece of instrumental music? How can ‘pure’ musical sounds ‘express’ emotions such as joyfulness, sadness, anguish, optimism, and anger? Sounds are not living organisms; sounds cannot feel emotions. Yet many people around the world believe they hear emotions in sounds and/or feel the emotions expressed by musical patterns. Is there a reasonable explanation for this dilemma? These issues gain additional importance when we ask them in the (...) context of music education. For example, can we, or should we, teach music students to listen‐for musical expressions of emotion? If so, how? My contention is that listeners can and do hear emotions in musical patterns; musical sounds can be expressive of emotions. Accordingly, I offer ideas for teaching students how to hear and create musical expressions of emotions. (shrink)

The theory of extended mind has been applied by some to the study of religious cognition. Past efforts have mainly centered around how material culture, like bibles and rosaries, functions in the perspective of extended cognition. In the present paper, I shift focus to unite these works with research on socially extended mind and participatory theory and discuss the additional role of living and nonmaterial culture, including cultural norms, customs, institutions, social ritual, and social others in capturing a full-bodied view (...) of extended religious cognition. I apply these areas of theory to the study of dispositional belief, affective states and processes, and the self and defend their application within this religious context. (shrink)

For this thesis, a detailed study was undertaken to determine whether techniques derived from traditional meditation systems can be applied to "co-participatory" music systems in order to enhance their accessibility, interactivity, and experiential impact, In order to adequately address this subject, a number of investigative steps have been taken. First, a workable list of definitions for what meditation actually is was made by comparing the practices and philosophies of a number of traditional meditation forms. The conclusions derived from this stage (...) of the discussion served to create a definitive "blueprint" for meditation and served as a theoretical foundation for the rest of the dissertation. The second stage was to see how these definitions manifest in the meditation form; of the modem world. This approach provided insight into how changed cultural perspectives exert a major influence on the effectiveness andlor appropriateness of certain traditional techniques. In addition to modern meditation practices, the definitions from chapter two were also examined from the perspective of modem science, another important aspect of modern culture. The observations from this chapter served as the basis for chapter four, in which the experiential, symbolic and conventional features of Western Art Music were examined. This was to provide some points of reference with which to consider the possibility of using meditation techniques to enhance the "musical experience". In chapter five, an examination was made of a number of composers and artists and their relevant works who have devised methods by which some of the more "restrictive" aspects of West em Art Music can be overcome or bypassed, so as to gain access to the full potential of that "musical experience". This stage of the discussion provided a practical framework with which to discuss the background, design and realization of my own wod. ~ connected to this research, collectively called the Wheel of Life project. One of the main aims of this creative project has been to subvert many of the "anachronistic" conventions of Western Art Music, particularly conventions such as performer/audience separation and overly rigid or ambiguous musical structures. By doing this, it is hoped th3t musical systems can be created that allow the participant to engage in a much more personally meaningful and actively creative experience. (shrink)

An issue consistently raised in the music therapy literature is the lack of a unified understanding of its concepts as well as the reasons for its efficacy. This issue is suggested to be closely linked to problems of scientific establishment of the field. Plenty of discussions regarding the achievability, applicability and even the desirability of such a unified understanding exist in the current literature of music therapy. A question consistently remaining unexplored, however, is that under which circumstances could it even (...) be possible for the discipline to reach a unified scientific understanding of the relationship between health, music and therapy? In the present thesis, universal law is examined as the notion which constitutes the basis of the unified body of knowledge within the scientific disciplines which have historically transcended their proto-scientific stages, and the applicability of the notion to the discipline of music therapy in order to answer its similar requirements of scientific establishment is discussed. (shrink)

Anglophone musicologists read the cultural theorist Slavoj Žižek more than they read the French psychoanalyst Jacques Lacan, and they are more concerned with Žižekian academia than they are with Lacan’s clinical practice. Two major problems emerge: Lacan is conflated with Žižek, and Lacan is conflated with Kant. As a result, analytic discourse is confused with post-modern academia as well as an eighteenth-century master-discourse on the Sublime. According to the author’s argument, Lacanian musicology is a misnomer, for it in fact refers (...) to Žižekian musicology, and what musicologists call the Lacanian Real is not really Lacanian. The re-branding of the Kantian Sublime and/or the Thing as the Lacanian Real is not necessary; it is a symptom of confusion. The article concludes with a cautious recommendation, pertinent to the study of music and discourses. (shrink)

This thesis explores the restoration and cultivation of mutually constitutive relationships between technique and identity. I begin by establishing the framework of practice that will be used throughout the thesis, in which I define practice by the methodological conditions of open-endedness, repeatability, intuition, situatedness and autonomy. I critique the practices of classical vocal pedagogy, the field of my own training and one about which critical scholarship is distinctly lacking. I argue that these practices effect a violentseparation between technique and identity (...) by means of the fetishisation of technique, ideologies of transcendence, structural whiteness and the reification that structures spaces of training and practice. I establish a theoretical framework, grounded in the work of Ben Spatz, for understanding the relationships between the repetition and sedimentation of technical knowledge and the always ongoing formation of identity, and explore the defetishisation of technique and the objects and practices in which it is encoded both in the university’s practice-as-research context and in the work of two artists and collaborators, Ragnar Kjartansson and Monia Sander Haj-Mohammed. Grounded in an intertextual reading of philosophies of immanence, philosophical pragmatism and feminist epistemology, I articulate the notion of situational emergence in processes of technical development and explore the broader scope and significance of lifelong transformation through technique. With this basis, I give an account of the works in the portfolio, exploring methodologies of defetishisation and situated making, and highlighting the ways that forms emerge in and through durational processes that are always specifically situated in time and place. (shrink)