I find myself both moved and perplexed by
some of the ‘movements’ in the exchange over ambiguity. It seems to
start by a notion of ambiguity of the ‘perceived object’ that
oscillates between two clear ways of being experienced (either a vase or a pair
of faces) and currently seems to be a point of ‘darke Mysterie’ with
formless silence in which no particular way (or even two particular\ ways being
oscillated between) of experiencing the universe (let alone an image on paper)
is more predictable or more desirable than any other:
Every little piece of knowing emerges to fall back again into the great
unknown. I like Jamie Sands comment that ‘Great Mystery
doesn’t need to be solved’. Life is free fall, the infinite pack of
cards thrown up into the air. There is no knowing where they will land (Halina Pytlasinska).
From my point of view, the attempt at better knowing
(or less ignorance) that is embodied in the scientific project and the project
of science has come round to being trashed in the name of what feels like an
artistic ecstasy (quite legitimate as such) performing as if it were a social
science being performed.
A mode of work, it seems to me, can only claim to be a
(social or whatever) science if it attempts to improve understanding and
generate better knowing. This may certainly involve the non-hasty pursuit of
uncertainty (Heisenberg’s uncertainty principle), sustained scepticism
about ‘claims to certain knowledge’ (W.R. Bion and John Keats), but
it does not mutate into the celebration
of mystery as a good in itself. It certainly may attempt to render the familiar
strange (anthropologists working on their own society) but it does so in
conjunction with rendering the strange familiar or at least capable of being
made sense of. As a tactic,
confounding commonsense understandings by rendering the all-too-familiar as ‘mysterious’
is perfectly legitimate and a powerful tool for advancing (eventual)
understanding; to make the goal
of one’s activity the celebration of mystery does not seem to be part of
an activity hoping to pass as ‘science’: it may be crucial to art
and religion, but that’s another (however possibly more valuable) story.
Best wishes for the struggle against
mystification and a tolerance of mystery
Tom
24a PrincesAvenue
Muswell Hill
020-8883-9297
For a free copy of the current 'Short
Guide to BNIM (biographical narrative interpretive method) research
interviewing', please send me details of your institutional affiliation and for
what research or teaching purpose you might wish to use BNIM. I'll mail you a
copy right back.
From: Performative
Social Science [mailto:[log in to unmask]] On Behalf Of John J. Guiney Yallop
Sent: 10 April 2007 13:45
To: [log in to unmask]
Subject: Re: On Ambiguity
Halina writes "we are a universe of
strings playing the manifest world into being" and that we are "also
multi-verses to each other."
Beautiful.
(Sometimes the performative calls forth one-word responses --
sometimes silence.)
John
John J. Guiney Yallop
PhD Candidate in Educational Studies
Faculty of Education
The
Website: http://publish.edu.uwo.ca/john.guiney%20yallop/
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