{"id":1,"date":"2021-05-14T08:00:00","date_gmt":"2021-05-14T07:00:00","guid":{"rendered":"https:\/\/reframe.sussex.ac.uk\/sequence6\/?p=1"},"modified":"2021-07-27T14:31:56","modified_gmt":"2021-07-27T13:31:56","slug":"hello-world","status":"publish","type":"post","link":"https:\/\/reframe.sussex.ac.uk\/sequence6\/2021\/05\/14\/hello-world\/","title":{"rendered":"Presenting SEQUENCE Six: Handling Philosophy \u2013 Transforming through creative practice"},"content":{"rendered":"

ISSN 2052-3033\u00a0(Online)<\/strong><\/p>\n

NEW: \u00a0SEQUENCE Six: Handling Philosophy \u2013 Transforming through creative practice<\/strong><\/p>\n

We are delighted to present the latest issue of\u00a0SEQUENCE<\/a>:<\/em>\u00a0Serial Studies in Media, Film and Music,\u00a0REFRAME<\/a>\u2018s experimental, peer-reviewed, and\u00a0sequential<\/em>\u00a0edited-collection format.<\/p>\n

This SEQUENCE asks, what is philosophy for? The question is a pragmatic one born from a love of philosophy and a concern over its future. How can philosophy renew itself?\u00a0 Can it be a tool, in the Heideggerian sense, of being ready-to-hand, to be used creatively and imaginatively to do things and produce \u2018stuff\u2019, beyond the academy and \u2018in the world\u2019?\u00a0 Creative practice offers such possibilities. However a praxical approach to philosophy is a radical intervention that requires a re-configuration of philosophy’s self-identity. There is a tension between the open-endedness of practice and philosophy’s totalising structures and logo centrism. For Mich\u00e8le Le D\u0153uff ‘..philosophy is just the formal idea that discourse must involve exclusion\u2019 (1977: 7). She suggests that philosophy must abandon its desire to be a theory which leaves no room for lack of knowledge and that there must be a transformation of the relations of individuals to the enterprise that is philosophy. This means re-thinking philosophy\u2019s subject as an individual but also that philosophical work be seen as part of a collective and enterprise, rather than as a product of individual initiatives (1977:11). These suggestions can be mobilised through creative practice. Practice is always open ended, and not-knowing, possibly never knowing, is an inherent driver. Much creative practice is also collaborative, feeding off the interactions with other makers and contributors. Such methods prioritise tacit and embodied knowledge, allowing it to surface,\u00a0 and through iterative processes, be transformed into new kinds of knowledge. Practice is also egalitarian in its approach to \u2018theory\u2019 and irreverent in its use of it. \u00a0Borrowing, repurposing and misunderstanding is part of what practice does to theory. \u00a0This is why practice matters. It offers a framework to test, explore and elaborate theoretical ideas, forcing them to be in the world and to do stuff to other stuff. This edition of sequence will explore a praxical approach to doing philosophy. What happens when creative practitioners intervene in philosophical discourse?\u00a0 What do such interventions produce and how do these reconfigure epistemological boundaries?\u00a0\u00a0<\/p>\n

The first article in this new SEQUENCE is Joanna Callaghan’s \u2018Ontological Narratives: ways of being in film\u2018<\/a>.\u00a0PDF<\/a><\/strong><\/p>\n

As usual, as we are sequentially inviting responses to the first entry in this iteration of SEQUENCE, Callaghan\u2019s article also constitutes a Call for Contributions<\/em>\u00a0for further\u00a0Handling Philosophy <\/em>sequences. If you\u2019re inspired to respond, especially if you have practice or written research work in progress on any of the topics raised by her\u00a0essay, and\/or the SEQUENCE title, in relation to any relevant cultural or communications medium, please get in touch with us at\u00a0SEQUENCEserial[at]gmail[dot]com<\/a>. Multimedia responses of all kinds are also very much encouraged. But it would be worthwhile to discuss any substantial idea\u00a0with us at an early stage in your planning. All contributions need to comply with UK copyright law and the current understanding of fair dealing. Contributors should note that their submissions will be formally peer-reviewed. But there are no editorial prescriptions on length or content, except that your work should be some kind of \u2018sequential response\u2019. If you don\u2019t want to take part\u00a0right away, you can still enter the \u2018chain\u2019 of responses later on.\u00a0SEQUENCES may be long and short in all sorts of ways.<\/p>\n

SEQUENCE Six<\/strong> is being\u00a0co-edited by Katherine Farrimond\u00a0<\/a><\/em> and Russell Glasson<\/a><\/em> (co-editors of the SEQUENCE\u00a0<\/a>project), with Professor Joanna Callaghan<\/a><\/em><\/p>\n\n\n

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