Alien Phenomenology

Bogost, Ian

doi:10.5749/minnesota/9780816678976.003.0001

Cited by 58 publications

(67 citation statements)

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“…Despite its odious racism, Lovecraft’s oeuvre offers a heuristic to those working within the varied fields of critical animal studies, posthumanism, new materialism, speculative realism and object-oriented ontology (Sederholm and Weinstock, 2016: 4). Most prominently, the philosopher Graham Harman (2012) advances a weird realism and object-oriented ontology intent on challenging the correlation between thinking and being and the assumption that “if things exist, they do so only for us ” (Bogost, 2012: 4, emphasis in original). As hinted by Pizzolatto in True Detective , Harman (2012) sees the Lovecraftian weird, inhabited by indescribable monsters and otherworldly forces that defy human comprehension, as productive of the gaps between objects and their unknowable qualities.…”

Section: The Unthinkable Worldmentioning

confidence: 99%

Bad cops and true detectives: The horror of police and the unthinkable world

Linnemann

2017

Theoretical Criminology

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The first season of the HBO series True Detective has drawn attention to Eugene Thacker’s horror of philosophy trilogy and his tripartite mode of thinking of the world and the subject’s relation to it. This article is an effort to read Thacker’s speculative realism into a critique of the police power. Where the police concept is vital to sustaining the Cartesian world-for-us, a world of mass-consumption and brutal privation, the limitations, failures or absence of police might also reveal horizons of disorder—primitivism, anarchism—the world-in-itself. A critical reading of True Detective and other police stories suggests that even its most violent and corrupt forms, as inseparable from security, law and order, the police power is never beyond redemption. What is rendered unthinkable then is the third ontological position—a world-without-police—as it exposes the frailties of the present social order and the challenges of thinking outside the subject.

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Section: The Unthinkable Worldmentioning

confidence: 99%

Bad cops and true detectives: The horror of police and the unthinkable world

Linnemann

2017

Theoretical Criminology

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“…'To create an ontograph involves cataloguing things, but also drawing attention to the couplings of and chasms between them', writes Bogost. 42 The power of a text such as this lies in its ability to draw us to these things, glimpses or couplings, with an increased attentiveness. Through a process of individuation and accumulation, the walk-text performs the partition of these entities in a way that highlights their singularity, while at the same time registering a resonating interconnection or interdependency.…”

Section: Fulton: Walking and Walk-textsmentioning

confidence: 99%

‘Sensuous Singularity’: Hamish Fulton’s Cairngorm Walk-Texts

Macpherson¹

2017

Critical Survey

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The purpose of this article is to consider walking artist Hamish Fulton's 'walk-texts' as ethical responses to the environment. In light of the environmental crisis that manifests in the proposed stratigraphic designation 'Anthropocene', Jane Bennett's writing on enchantment offers a direction for thinking about how an ecologically ethical sensibility might be cultivated. Fulton's communicative response to his walking art, I argue, embodies the discernment of 'things in their sensuous singularity' that Bennett identifies as a key attribute of enchantment. Yet, in his own writing on his art practice, the walk-texts are conceived as secondarya necessary counterpart to walking as an experiential activity. By honing in on two recurring strategies we find in Fulton's Cairngorm walk-textsthe list and the return-I argue that his work offers a linguistic mode that holds great potential for tuning us to environmental ethics in the Anthropocene. Keywords: Anthropocene, ecology, ethics, Hamish Fulton, Jane Bennett, sensuous singularity Starting Points Since the early 1970s, Hamish Fulton has been combining two distinct activities: walking and art. Rejecting art-historical discourse that has labelled him variously as a conceptual artist, a sculptor and a Land artist, Fulton refers to himself simply as a walking artist: 'Every piece of art I make results from the experiences of specific walks-Every walk I make is recorded in words'. 1 The act of walking is where Fulton's art happens; the 1 documentation of the walks, in 'walk-texts' and photographs, records, in his own words, only the presence of a human experience. Yet, as his page on the British Council website maintains, 'the communicative power [of his work] comes from the resonant texts which accompany [it]'. 2 These texts range from simple declarations of intent detailing the duration, date and location of a walk, to concrete poetry, haiku-style descriptions, and combinations of word and image that draw influence from advertising and graphic design. Often repeated in different contextsfrom gallery walls to artist books and postcardsas well as with variations in form, Fulton's walk-texts display a conscious engagement with language, typography, punctuation and the interplay of words and images. In this article, I focus on a selection of the walk-texts produced as a result of Fulton's walks in the Cairngorms. Fulton has returned to the Cairngorms, Am Monadh Ruadh, or the red hill range, in northeast Scotland repeatedly since his first walk there in 1985, and has produced dozens of walk-texts documenting his experiences. Many of these are collected in two volumes, Mountain Time Human Time (2010), a book resulting from a project with Deveron Arts, a socially engaged arts organisation based in the small Aberdeenshire town of Huntly, and Wild Life (2000), a collection of Cairngorm texts produced between 1985 and 1999. 3 Spanning twenty-five years, Fulton's Cairngorm work expresses an intense attachment to and fascination with place that is representative of his w...

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“…In the process, bodily awareness is developed, and an enhanced capacity to read and perceive other bodies (Shusterman, 2006). Bogost (2012) purports the experience of objects is only accessible to humans via speculation about how objects are interacting with each other. Toward speculative possibilities, I extended my bodily sensitivity purposefully toward the action of things, anticipating that the nonhuman elements proximate to the research encounters might speak back and be noncompliant (Stengers, 1997, p. 87; Vitellone, 2008).…”

Section: Second Orientation To Assembling: Attune Body To Human and Nmentioning

confidence: 99%

“…In response, a range of conceptual frames have been developed to account for the material world, nonhuman and emergent forms of life. Examples include the following: Donna Harraway's (1991) cyborg, Karan Barad's (2003) agential realism, Jane Bennett's (2010) vibrant matter, Graham Harman's (2002) object-oriented ontology, Bruno Latour's (2005) actor-networks, and Ian Bogost's (2012) alien phenomology. Diverse in many ways, these approaches share discarding the idea that humans are central.…”

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confidence: 99%

Orientating to Assembling: Qualitative Inquiry for More-Than-Human Worlds

McLeod

2014

International Journal of Qualitative Methods

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A key concern for qualitative inquiry is finding ways to account for nonhuman and emergent forms of life. Toward this, researchers are experimenting with research practices that decenter the human subject. Deleuze's (1977) assemblage concept has proved a useful resource for these methodological experiments. Most often, the assemblage concept has informed analysis and writing processes. This article puts the assemblage concept to work during each stage of an empirical research project exploring how people experience antidepressant use. It details seven ways that assemblages are used during concrete research processes across the span of the project. This strategy generates a sensibility toward qualitative inquiry described as orientating to assembling. The sensibility decenters the human as the focus of qualitative research. It enables the presence of nonhuman objects, not as acted-upon, but agents in the research processes. The article contributes to the challenges posed to human-centered qualitative research by reframing the focus entirely. It shows how using a sensibility that consistently decenters the human across all stages of empirical research projects, is a way that qualitative inquiry can account for more-than-human worlds.

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Alien Phenomenology

Cited by 58 publications

References 0 publications

Bad cops and true detectives: The horror of police and the unthinkable world

Bad cops and true detectives: The horror of police and the unthinkable world

‘Sensuous Singularity’: Hamish Fulton’s Cairngorm Walk-Texts

Orientating to Assembling: Qualitative Inquiry for More-Than-Human Worlds

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