We're both participants in the Phenomenology of Health and Relationships group at Aston University. In planning our inaugural conference, the group initially considered a narrower focus on Interpretative Phenomenological Analysis (IPA). There is a regular (more-or-less annual) IPA Conference, and we had agreed to host it. Eventually we settled on a broader theme (Creativity and Affect). IPA is one approach which many of us use in our work, but it is not the only one, and methods are not the sole focus of our meetings. When we meet as a group, we do discuss creative innovations in methodology, but we also read phenomenology, and explore studies which offer experiential insights on health and relationships. We hoped that a broader theme would open up dialogue around these cross-cutting issues and provide a space for thinking about the development of IPA, but also its relationship to philosophy and to other approaches.
In our Call for Papers, we encouraged presenters to think about these cross-cutting issues, and also to feel free to suggest creative ways of engaging the attendees with their work. We were delighted to see, when the responses to our Call For Papers began to arrive, that there was a considerable appetite for an event like this.
We ran our event at Fazeley Studios in Digbeth. The venue was lovely - spacious and light - and we had the good fortune to be running over two warm and bright spring days.
Zoë Boden’s invited workshop opened the event, with a morning focused on analysing image-making data in phenomological research. Zoë kicked things off by asking delegates to introduce themselves through drawings representing how they were feeling. Here's the image that Will made, as he brightened the corners of the unfolding morning of May 22nd -
During the workshop, Zoë drew upon her work exploring young peoples’ experience of psychosis, and her analytic framework (Boden, 2013; Boden & Eatough, 2014) for multi-modal analysis. Her workshop made a compelling argument for considering images as distinct residuals of subjectivity in their own right, not just as a way to elicit narrative data. After the session, the coffee break was buzzing with people enthusing about how they were going to incorporate these ideas into their next research project.
The conference’s first keynote came from Virginia Eatough whose talk developed a phenomenological perspective on affect. Virginia began with the premise that people are “existential world disclosers.” She positioned affect as a distinct layer of experience which orients ourselves towards others; a concern-ful, relational mode of involvement in the world. Virginia focused then on the power of language to make this manifest. Language is “in the world”, a practical engagement that helps us get to understanding. She develop this point through reference to an insightful analysis: ‘“It’s like having an evil twin”: the lifeworld of a person with Parkinson’s disease’ (Eatough & Shaw, 2019). In this case study, ‘Barbara’ - 61 years old and living with a diagnosis of Parkinson’s disease for four years – reflects on ‘losing her grip.’ The multiple meanings of ‘grip’ employed by Barbara, and expanded through Virginia’s analysis, illuminated the complex relationship between the loss of physical grip and encroaching psychological uncertainty.
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| Virginia Eatough |
In the afternoon that followed, we had parallel sessions with fascinating papers on aspects of spiritual experience (David Wilde), parenting and health (Kristina Newman, Kat Slade, Lydia Aston) and coping with ongoing ill-being (Joanna Farr, Collette Beecher). Refreshed insights into the connections between method (from the morning), concepts (from the keynote) and research practice (in the afternoon papers) were already coming to the surface of our conversations in between the sessions.
In the call for papers, we had strongly encouraged submissions from presenters who wished to do something a little unusual with the format. We were fortunate enough to be able to end the first day with two really exciting and innovative examples of what conferences can do. In one session, William presented his multi-media reflections on the film “I, Daniel Blake”. He was too modest to mention it in his draft notes for this piece, of course, but this is a piece of work which foregrounds the way that the auditory and visual dimension of cultural narratives create experiential meaning for audiences. In the other session, Asztrik Kovacs and Daniel Kiss used music, song, narration and photographs to reflect on the experience of psychiatric hospitalisation in Hungary. The piece drew on family experience, archival images, and reflections on field research, and it was woven together into a single, unbroken flow of performance. This was a highlight of the conference for many of us, who loved the way that it evoked the intensity of connections that can still persist between people even when they are separated by time, place and experience.
