This paper is a personal account of the use of poetry as a means to elaborate and explore the inner talk of the practitioner in order to open space for the generation of new meanings, challenging single stories to create the possibility of multiple other tellings and creating reflexive space. Poetry is described as a way to challenge traditional knowledge and honour alternative knowledges, harnessing creativity to enrichen thin tellings, deconstruct strong emotion and critically explore the positioning of the practitioner. A means to open space for creating new ways to move forward in therapy, in systemic training and in the development of decolonial practice. In this process a number of challenges are raised as questions for further exploration; how to create ethical positionings from which to write first person accounts about clients, therapeutic relationships and striking emotional encounters and how to address issues of consent and the potential appropriation of others’ stories. As systemic therapy moves into a new era these questions come to the fore in terms of creating new knowledges, moving towards epistemic witnessing, decolonising practice and training and creating lenticular futures.
{"title":"Wisps of smoke that linger: poetry as reflexive writing and living theory","authors":"K. Partridge","doi":"10.28963/5.1.4","DOIUrl":"https://doi.org/10.28963/5.1.4","url":null,"abstract":"This paper is a personal account of the use of poetry as a means to elaborate and explore the inner talk of the practitioner in order to open space for the generation of new meanings, challenging single stories to create the possibility of multiple other tellings and creating reflexive space. Poetry is described as a way to challenge traditional knowledge and honour alternative knowledges, harnessing creativity to enrichen thin tellings, deconstruct strong emotion and critically explore the positioning of the practitioner. A means to open space for creating new ways to move forward in therapy, in systemic training and in the development of decolonial practice. In this process a number of challenges are raised as questions for further exploration; how to create ethical positionings from which to write first person accounts about clients, therapeutic relationships and striking emotional encounters and how to address issues of consent and the potential appropriation of others’ stories. As systemic therapy moves into a new era these questions come to the fore in terms of creating new knowledges, moving towards epistemic witnessing, decolonising practice and training and creating lenticular futures.","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116822421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I propose a way of systemic work through art and specifically through theatrical practice in order to prompt this kind of creative writing called spontaneous writing. In the Improvisational Experiential Theatre method that I practise, spontaneous writing is prompted by theatrical improvisations. The writings of the group members compose a play, which is brought before a theatre audience. Systemic practitioners often use writing in their work with people in order to help them to express themselves. Spontaneous writing which aims for the creation of a theatrical play triggers the group members to release their deeper thoughts, their feelings and their body, and to express themselves mostly poetically. It creates the space that helps them to connect with society, writing about social issues that touch everyone. And when these persons, who are not actors, present their own play on a stage, they see themselves as protagonists in their lives and at the same time as active members of society. I hope that this paper will motivate systemic practitioners to use the art, in any form, in their work with people. Περίληψη (Greek) Σε αυτό το άρθρο, προτείνω ένα τρόπο συστημικής δουλειάς μέσω της Τέχνης και συγκεκριμένα μέσω της θεατρικής πράξης, προκειμένου να προκληθεί το είδος της δημιουργικής γραφής που ονομάζεται αυθόρμητη γραφή. Στην μέθοδο Αυτοσχεδιαστικού Βιωματικού Θεάτρου που εφαρμόζω, η αυθόρμητη γραφή κινητοποιείται από θεατρικούς αυτοσχεδιασμούς. Τα κείμενα των μελών της ομάδας συνθέτουν ένα θεατρικό έργο, που το παρουσιάζουν στο κοινό.
{"title":"Spontaneous writing: co-creating a play","authors":"Ioulia Balaska","doi":"10.28963/5.1.7","DOIUrl":"https://doi.org/10.28963/5.1.7","url":null,"abstract":"In this paper, I propose a way of systemic work through art and specifically through theatrical practice in order to prompt this kind of creative writing called spontaneous writing. In the Improvisational Experiential Theatre method that I practise, spontaneous writing is prompted by theatrical improvisations. The writings of the group members compose a play, which is brought before a theatre audience.\u0000Systemic practitioners often use writing in their work with people in order to help them to express themselves. Spontaneous writing which aims for the creation of a theatrical play triggers the group members to release their deeper thoughts, their feelings and their body, and to express themselves mostly poetically. It creates the space that helps them to connect with society, writing about social issues that touch everyone. And when these persons, who are not actors, present their own play on a stage, they see themselves as protagonists in their lives and at the same time as active members of society.\u0000I hope that this paper will motivate systemic practitioners to use the art, in any form, in their work with people.\u0000 \u0000Περίληψη (Greek)\u0000Σε αυτό το άρθρο, προτείνω ένα τρόπο συστημικής δουλειάς μέσω της Τέχνης και συγκεκριμένα μέσω της θεατρικής πράξης, προκειμένου να προκληθεί το είδος της δημιουργικής γραφής που ονομάζεται αυθόρμητη γραφή. Στην μέθοδο Αυτοσχεδιαστικού Βιωματικού Θεάτρου που εφαρμόζω, η αυθόρμητη γραφή κινητοποιείται από θεατρικούς αυτοσχεδιασμούς. Τα κείμενα των μελών της ομάδας συνθέτουν ένα θεατρικό έργο, που το παρουσιάζουν στο κοινό.","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"72 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114023145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Exegesis In my doctoral inquiry, I focused on the relational space in the therapy room. The relational space is a concept that may appear in different forms and include words, emotions, non-verbal communication, objects within the context of space and time (Gergen, 2015). As a systemic practitioner and practitioner researcher, I find the process, and, potentially, the outcome of therapy to be largely defined by: the relational space between myself and my client; the relational space within my different selves; and the interconnectedness of these relational spaces. By being both self-reflexive and relationally reflexive, my research addresses the question of how the relational space between client and therapist interconnects with the relational space within the therapist, thus creating “relational ripples” in the therapy room (Karamatsouki, 2020). My interest in the area emerged as in my practice I observed that when I bring more of myself in the therapy room, more of the client is in there, too. In order to study the complex encounter in the therapy room I used autoethnography through storywriting. Autoethnography, “an autobiographical genre of writing and research that displays multiple layers of consciousness” (Ellis, 2004, p. 37), gives access to research material from an insider’s perspective. I use stories from practice in a literary style and in an ethical manner, where the focus is neither on the therapy techniques nor on the client’s difficulties. Instead, the focus is on the relational conversation between my client and me, as well as my inner dialogue and thoughts and feelings. What follows in a story from within practice which appears in my doctoral thesis and shows the relational flow of the therapeutic process and the creation of relational ripples. In a way, what I am trying to do is expand systemic thinking by bringing to the fore the relational space within myself as a therapist and create a professionally employable space for the personal.
{"title":"Creating relational ripples in therapy","authors":"Marilena Karamatsouki","doi":"10.28963/5.1.9","DOIUrl":"https://doi.org/10.28963/5.1.9","url":null,"abstract":"Exegesis\u0000In my doctoral inquiry, I focused on the relational space in the therapy room. The relational space is a concept that may appear in different forms and include words, emotions, non-verbal communication, objects within the context of space and time (Gergen, 2015). As a systemic practitioner and practitioner researcher, I find the process, and, potentially, the outcome of therapy to be largely defined by: the relational space between myself and my client; the relational space within my different selves; and the interconnectedness of these relational spaces. By being both self-reflexive and relationally reflexive, my research addresses the question of how the relational space between client and therapist interconnects with the relational space within the therapist, thus creating “relational ripples” in the therapy room (Karamatsouki, 2020).\u0000My interest in the area emerged as in my practice I observed that when I bring more of myself in the therapy room, more of the client is in there, too. In order to study the complex encounter in the therapy room I used autoethnography through storywriting. Autoethnography, “an autobiographical genre of writing and research that displays multiple layers of consciousness” (Ellis, 2004, p. 37), gives access to research material from an insider’s perspective. I use stories from practice in a literary style and in an ethical manner, where the focus is neither on the therapy techniques nor on the client’s difficulties. Instead, the focus is on the relational conversation between my client and me, as well as my inner dialogue and thoughts and feelings.\u0000What follows in a story from within practice which appears in my doctoral thesis and shows the relational flow of the therapeutic process and the creation of relational ripples. In a way, what I am trying to do is expand systemic thinking by bringing to the fore the relational space within myself as a therapist and create a professionally employable space for the personal.","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127116629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On being a performer","authors":"L. Edwards","doi":"10.28963/5.1.10","DOIUrl":"https://doi.org/10.28963/5.1.10","url":null,"abstract":"","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"52 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114042091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
These reflective auto-biographical /ethnographic pieces are based on experiences of social class during our childhoods. We go on to reflect upon these from our current perspectives within the UK public sector. Born in 1975, we grew up living half a mile apart from each other in Kings Norton, Birmingham. We met as teenagers and were reacquainted in our 40s. Our childhoods were worlds apart from the perspective of social class and social deprivation. We see these same class divides in our everyday encounters in our work contexts. This paper emerged from conversations regarding our contrasting experiences and explores how reflecting on social class may impact upon practice. The article uses a duoethnographic and systemic inquiry methodology and we use a method we have devised for the purpose called a “ripple effect” to reflect on each other’s writings. There is so much we would have liked to expand further upon in this paper. Through the writing we have recognised many further directions that the discussion could have moved in, leaving room for further debate.
{"title":"Half a mile or a world apart? A systemic duoethnographic inquiry into our experience of social class in the UK","authors":"Rachel Julia Evans, Kevin Hall","doi":"10.28963/5.1.6","DOIUrl":"https://doi.org/10.28963/5.1.6","url":null,"abstract":"These reflective auto-biographical /ethnographic pieces are based on experiences of social class during our childhoods. We go on to reflect upon these from our current perspectives within the UK public sector. Born in 1975, we grew up living half a mile apart from each other in Kings Norton, Birmingham. We met as teenagers and were reacquainted in our 40s. Our childhoods were worlds apart from the perspective of social class and social deprivation. We see these same class divides in our everyday encounters in our work contexts. This paper emerged from conversations regarding our contrasting experiences and explores how reflecting on social class may impact upon practice. The article uses a duoethnographic and systemic inquiry methodology and we use a method we have devised for the purpose called a “ripple effect” to reflect on each other’s writings. There is so much we would have liked to expand further upon in this paper. Through the writing we have recognised many further directions that the discussion could have moved in, leaving room for further debate.","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114065424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Exposition This play is about entangled embodiments of early career family therapists attending to clients’ trauma. It is drawn from research based on the theoretical framework of Karen Barad’s agential realism. As part of (2007) agential realism, the world is always already entangled and connected (Barad, 2007). I/we are not separate from one another, as in a murmuration, a shifting mass of starlings, thousands of birds flying together in dynamic shapes, shifting and moving in concert, responsive to one another and their larger environment (RSPB, 2022). In performing a murmuration, the birds cease to be distinct but instead are connected, communicating, and entangled as part of the larger form that is ever changing and becoming, allowing us to consider how thinking of systemic practice as a murmuration entails following lines of entanglement, connectedness, and iterative responsivity. To trace and track a murmuration, to learn from it and be a part of the embodied entanglement, is not to sit still, but to follow embodied shifts, to draw temporary and moving boundaries around the amorphous shapes and patterns that are forming/dissolving/re-forming in turn. Barad, a feminist quantum physicist (2007), refers to these boundary-drawing practices as agential cuts, or enactments that show what is inside/outside a phenomenon, not as inherently distinct, but as temporarily separated so the murmuration can be looked at, examined, and explored. This play is a series of agential cuts, six acts that together provide a broader narrative. This narrative weaves through/in/between the murmuration of systemic practice, exploring with curiosity what happens to the embodiments of systemic therapy practitioners when a client discloses a traumatic event or history. Based on Amber Kelley’s dissertation research, and presenting findings as poetry, this play follows an arc of exploration, an embodied journey through the entangled becomings of therapy practice and of being intimately with/in the trauma of our interconnected world.
{"title":"Entangled embodiment(s) with trauma: a play in six acts","authors":"Amber N. Kelley, J. Gale","doi":"10.28963/5.1.8","DOIUrl":"https://doi.org/10.28963/5.1.8","url":null,"abstract":"Exposition\u0000This play is about entangled embodiments of early career family therapists attending to clients’ trauma. It is drawn from research based on the theoretical framework of Karen Barad’s agential realism. As part of (2007) agential realism, the world is always already entangled and connected (Barad, 2007). I/we are not separate from one another, as in a murmuration, a shifting mass of starlings, thousands of birds flying together in dynamic shapes, shifting and moving in concert, responsive to one another and their larger environment (RSPB, 2022). In performing a murmuration, the birds cease to be distinct but instead are connected, communicating, and entangled as part of the larger form that is ever changing and becoming, allowing us to consider how thinking of systemic practice as a murmuration entails following lines of entanglement, connectedness, and iterative responsivity. To trace and track a murmuration, to learn from it and be a part of the embodied entanglement, is not to sit still, but to follow embodied shifts, to draw temporary and moving boundaries around the amorphous shapes and patterns that are forming/dissolving/re-forming in turn. Barad, a feminist quantum physicist (2007), refers to these boundary-drawing practices as agential cuts, or enactments that show what is inside/outside a phenomenon, not as inherently distinct, but as temporarily separated so the murmuration can be looked at, examined, and explored. This play is a series of agential cuts, six acts that together provide a broader narrative. This narrative weaves through/in/between the murmuration of systemic practice, exploring with curiosity what happens to the embodiments of systemic therapy practitioners when a client discloses a traumatic event or history. Based on Amber Kelley’s dissertation research, and presenting findings as poetry, this play follows an arc of exploration, an embodied journey through the entangled becomings of therapy practice and of being intimately with/in the trauma of our interconnected world.","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124716695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With many years of experience as a family therapist I became a researcher and embarked upon a Professional Doctorate in Systemic Practice. I had wanted to illuminate the art, craft, and the aesthetics therapy where therapist expertise is creating the space for and architecting a dialogical process. Traditional research methods were too limiting for this project so I created my own bespoke methodology. This paper shows examples of how I have blended reflection on personal and professional experiences and conversational storytelling in writing my doctoral thesis. I discuss details of my methodological journey and articulate these ideas through the creative use of two reflexive dialogues. These illuminate the value of systemic conversation and storytelling, how we make meaning and sculpt our identities.
{"title":"Landscapes of possibility. When autobiography becomes autoethnography","authors":"H. Bohme","doi":"10.28963/5.1.5","DOIUrl":"https://doi.org/10.28963/5.1.5","url":null,"abstract":"With many years of experience as a family therapist I became a researcher and embarked upon a Professional Doctorate in Systemic Practice. I had wanted to illuminate the art, craft, and the aesthetics therapy where therapist expertise is creating the space for and architecting a dialogical process. Traditional research methods were too limiting for this project so I created my own bespoke methodology.\u0000This paper shows examples of how I have blended reflection on personal and professional experiences and conversational storytelling in writing my doctoral thesis. I discuss details of my methodological journey and articulate these ideas through the creative use of two reflexive dialogues. These illuminate the value of systemic conversation and storytelling, how we make meaning and sculpt our identities.","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123621509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a systemic therapist, I have found Karen Barad’s physics-philosophy useful when trying to comprehend understandings of my responses from within the ongoing stream of my interactions with clients. In this writing, I attempt to share my understanding of Barad’s ideas of “performativity” and “phenomena” through the making of a bouquet in the flower shop down the road. The essay unfolds around a brief dialogue with the florist, and around my inner dialogue and reflections in relation to his question to me: “Did they like what we made?”. I am focusing on the entangled nature of doing, knowing and being, and the radical aliveness of relational responsivity in our encounters with people. Drawing upon the relational wisdom of everyday spontaneous living with others to enrich professional practice, I am showing that ethical concerns are not supplemental to practice but an integral part of it (Barad, 2007, p. 37). The choice of episode is random but its spontaneous nature fits with the notion of a “phenomenon”. It is a simple, brief, mostly non-verbal occasion, allowing for a real-ist performance improvisation of complementary intra-acting agencies, emerging from within their intra-action, without the need for evaluating and measuring separate individual agencies and actions. According to Barad (2007, p. 37), “realism is not about representations of an independent reality but about the real consequences, interventions, creative possibilities, and responsibilities of intra-acting within and as part of the world.” In my effort to show that “values are integral to the nature of knowing and being” (Barad, 2007, p. 37), I have avoided the urge for reflections based on hypothesising about what might be indicating what or theorising about what might mean what in this essay. Instead, I let entangled and overlapping knowledges from various areas and times of my life and practice interact, and through a kind of “diffractive” writing, I am in dialogue with the reader; with myself backdated to the day when I went to the flower shop to buy the bouquet; with myself as a therapist and a researcher; with Barad through the use of a number of quotations from her work; and with a number of novel and fictional heroes who, although unrelated to the theme of this writing, come to my mind as I relive the episode I am writing. Περίληψη (Greek) Σαν συστημική θεραπεύτρια, έχω βρει τις φιλοσοφικές ιδέες της Karen Barad χρήσιμες στις προσπάθειες μου να καταλάβω διαφορετικές κατανοήσεις των τρόπων με τους οποίους ανταποκρίνομαι στους πελάτες μου μέσα στη ροή της διάδρασης μας. Σε αυτό το άρθρο επιχειρώ να μοιραστώ το πως αντιλαμβάνομαι τις έννοιες της «επιτελεστικότητας» και του «φαινομένου», που χρησιμοποιεί η Barad, μέσα από τη δημιουργία μιας ανθοδέσμης στο ανθοπωλείο της γειτονιάς μου. Το κείμενο ξεδιπλώνεται γύρω από ένα σύντομο διάλογο με τον ανθοπώλη, και την ερώτηση που μου κάνει: «τους άρεσε αυτό που φτιάξαμε;». Επικεντρώνομαι στην διεμπλεκόμενη φύση της πράξης,
{"title":"The voice of the florist. A message about we-ness awareness","authors":"Joanna Michopoulou","doi":"10.28963/5.1.2","DOIUrl":"https://doi.org/10.28963/5.1.2","url":null,"abstract":"\u0000As a systemic therapist, I have found Karen Barad’s physics-philosophy useful when trying to comprehend understandings of my responses from within the ongoing stream of my interactions with clients. In this writing, I attempt to share my understanding of Barad’s ideas of “performativity” and “phenomena” through the making of a bouquet in the flower shop down the road. The essay unfolds around a brief dialogue with the florist, and around my inner dialogue and reflections in relation to his question to me: “Did they like what we made?”. I am focusing on the entangled nature of doing, knowing and being, and the radical aliveness of relational responsivity in our encounters with people. Drawing upon the relational wisdom of everyday spontaneous living with others to enrich professional practice, I am showing that ethical concerns are not supplemental to practice but an integral part of it (Barad, 2007, p. 37).\u0000 \u0000The choice of episode is random but its spontaneous nature fits with the notion of a “phenomenon”. It is a simple, brief, mostly non-verbal occasion, allowing for a real-ist performance improvisation of complementary intra-acting agencies, emerging from within their intra-action, without the need for evaluating and measuring separate individual agencies and actions. According to Barad (2007, p. 37), “realism is not about representations of an independent reality but about the real consequences, interventions, creative possibilities, and responsibilities of intra-acting within and as part of the world.” \u0000 \u0000In my effort to show that “values are integral to the nature of knowing and being” (Barad, 2007, p. 37), I have avoided the urge for reflections based on hypothesising about what might be indicating what or theorising about what might mean what in this essay. Instead, I let entangled and overlapping knowledges from various areas and times of my life and practice interact, and through a kind of “diffractive” writing, I am in dialogue with the reader; with myself backdated to the day when I went to the flower shop to buy the bouquet; with myself as a therapist and a researcher; with Barad through the use of a number of quotations from her work; and with a number of novel and fictional heroes who, although unrelated to the theme of this writing, come to my mind as I relive the episode I am writing. \u0000\u0000 \u0000Περίληψη (Greek)\u0000Σαν συστημική θεραπεύτρια, έχω βρει τις φιλοσοφικές ιδέες της Karen Barad χρήσιμες στις προσπάθειες μου να καταλάβω διαφορετικές κατανοήσεις των τρόπων με τους οποίους ανταποκρίνομαι στους πελάτες μου μέσα στη ροή της διάδρασης μας. Σε αυτό το άρθρο επιχειρώ να μοιραστώ το πως αντιλαμβάνομαι τις έννοιες της «επιτελεστικότητας» και του «φαινομένου», που χρησιμοποιεί η Barad, μέσα από τη δημιουργία μιας ανθοδέσμης στο ανθοπωλείο της γειτονιάς μου. Το κείμενο ξεδιπλώνεται γύρω από ένα σύντομο διάλογο με τον ανθοπώλη, και την ερώτηση που μου κάνει: «τους άρεσε αυτό που φτιάξαμε;». Επικεντρώνομαι στην διεμπλεκόμενη φύση της πράξης,","PeriodicalId":422770,"journal":{"name":"Murmurations: Journal of Transformative Systemic Practice","volume":"304 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131415295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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