2014年1月30日 星期四

Moving stories: using mobile methods to explore the everyday lives of young people in public care


Casey conflates his term ‘place-world’ with Soja’s (1996) term ‘thirdspace’ to emphasize the importance of ‘a world that is not only perceived or conceived but also actively lived and receptively experienced’, enacted through the body by processes of ‘outgoing’ (bodily encountering places) and ‘incoming’ (traces of place being inscribed on the body) over time shaping the meaning of places and significances of them for people (Casey, 2001: 687–8, original emphasis). This is a per- formative process, through the practice of our fieldwork we (researchers and participants) mutually construct the field, not a fixed field but rather ‘the field as event’, transformed over time through our continued practice, always in a state of becoming (Coleman and Collins, 2006: 12). Many of the recent studies that utilise mobile research methods are also informed by de Certeau’s (1984) work emphasizing the immediacy and nowness of walking, and as Thrift (2004) discusses, of driving and ‘passengering’, as multi-sensory, place-making practices. Mundane practices and everyday experiences are subject to scrutiny, turning attention to the embodied experiences of different travel modes, constructing journeys as ‘dwelling- in-motion’ and focusing on the multitudes of activities they comprise (Sheller and Urry, 2006: 214).


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Nicola J. Ross, Emma Renold, Sally Holland and Alexandra Hillman
Qualitative Research 2009 9: 605 

2013年12月21日 星期六

《沒有色彩的多崎作和他的巡禮之年》 村上春樹



「重要的是想戰勝的意志本身。」他常常說。「在實際的人生中,我們無法一直繼續保持勝利。有時會勝利,有時也會失敗。」

「而且有時會雨天順延」

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「『廚師會恨服務生,他們雙方都恨顧客。』」灰田說。「這是出現在劇作家阿諾德 · 威斯克(Sir Arnold Wesker)的《廚房》戲曲中的台詞。被剝奪自由的人一定會憎恨誰。你不覺得嗎?我不想過這種生活。」

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人心和人心不只是因調和而結合的。反倒是以傷和傷而深深結合。以痛和痛,以脆弱和脆弱,互相聯繫的。沒有不包含悲痛吶喊的平靜,沒有地面未流過血的赦免。沒有不歷經痛切喪失的包容。這是真正的調和根底所擁有的東西。

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兩個人一句話都沒有再說。語言在此時此刻已經沒有力量。就像不再舞動的舞者們那樣,他們只是靜靜地互相擁抱著,委身於時間之流中。那是過去和現在,而且可能未來也多少混進來的時間。兩人身體之間沒有空隙,她溫暖的氣息規則地以一定間隔呼向他的脖子。作閉著眼睛,讓身體沈浸在音樂的聲響中,側耳傾聽惠理心臟刻著的聲音。那聲音和繫在凸堤的小船喀搭喀搭響的聲音重疊。




2013年12月20日 星期五

《到處存在的場所 到處不存在的我》 村上龍



文明社會的場所可以具有這麼專制的力量,使融不進節拍的人,在光潔的秩序裡自慚形穢。

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當夢想(好昂貴的字眼啊!)與被指派的角色扞格,個人怎樣才有足夠的勇氣,挺身抗拒場所呢?當台前燈光、都已經就定位,演員要怎樣才能走到舞台中央,無視於那些等著他接下一句台詞的同台者,面向一屋子驚愕的觀眾說:「不,今天要演的戲不是這樣,我要重來。」