Filmmaking and an Arts-Based Methodology of Intuition: Affect and the Virtual in Research and Pedagogy
Drawing on my arts-based educational doctoral research in 2015 with two secondary visual art teacher candidate participants, Christen and Kelsie, this session explores an emergent arts-based methodology of intuition to provoke the conditions for new and creative thought in both research and pedagogy. This presentation will examine participants’ filmmaking and Deleuze and Guattari’s concept of the nomad to consider how art practice enables unique forms of ontological inquiry described through Deleuze’s work on Henri Bergson’s concept of intuition. Intuition is understood as a process through which memory and perception become amenable to change through affective jolts to thought. As such, intuition emerges as a disposition that enables certain experiences to destabilise rather than affirm tacit and recognisable thought. Christen’s and Kelsie’s films made during their return to their high schools will be examined for the ways in which filmmaking provoked a sensorial and affective form of inquiry of school space, creating the potential for participants’ alternate memories and perceptions of their experience of schooling to emerge. In doing so, Christen’s and Kelsie’s art practice allowed for what Charles Garoian in The Prosthetic Pedagogy of Art (New York: SUNY Press, 2013) referred to as slippages of perception so that alternate understandings of their memories of schooling were made available.
Christen’s and Kelsie’s filmmaking shifted their performance and movement within the school space away from prescribed identities as teacher, student, and student teacher. Rather than performing these particular identities, their movement responded to the embodiment of memories produced by sensory and affective engagement with the space. In doing so, time rather than a linear progression became a virtual confluence of past, present, and future desire, enabling memories to be lived rather than recalled and thus made amenable to change. This artistic and nomadic form of inquiry destabilised the homogeneity and dominant discursive productions of the territory of schooling, allowing for alternate understandings to emerge.
Elaborating on these understandings, the session will present and discuss what has emerged as an arts-based methodology of intuition to create the conditions for participants to encounter tacit and sedimented knowledge and ways of knowing related to teacher practice. This methodology draws on the concept of intuition as a disposition that seeks to explore modes of embodied inquiry to disrupt tacit perceptions of practice. Intuition, as a disposition that problematises, differentiates, and temporalises experience inheres in the capacity of researchers and teacher candidates to ask different types of questions and disrupt normative expectations of practice, “to learn to what extent the effort to think one’s own history can free thought from what it silently thinks, and so enable it to think differently” (Elisabeth A. St. Pierre. “Nomadic inquiry in the smooth spaces of the field: A preface.” In Working the ruins: Feminist poststructural theory and methods in education. Edited by E.A. St. Pierre and W. Pillow, 365-383, London and New York: Routledge, 2000, 260).