This chapter considers philosophical practice as creative form of pedagogy involving a range of c... more This chapter considers philosophical practice as creative form of pedagogy involving a range of creative practices as practice-led research.
experimental philosophy
Affective Habitus: New Environmental Histories of Botany, Zoology and ... more experimental philosophy
Affective Habitus: New Environmental Histories of Botany, Zoology and Emotions
5th ASLEC-ANZ Biennial Conference, Humanities Research Centre, Australian National University, Canberra, 19-21 June 2014
Paper Abstract
Antonio Boliva’s On the Edge of the Fold: Madness and Extinction
Kim Satchell (Southern Cross University)
In What is Philosophy? Deleuze and Guattari refer to crazy etymological exercises and conceptual personas as philosophical athleticism. They posit the thinker in the conceptual persona of a surfer and then renounce the sporting figure in pursuit of another. However as a surfer and thinker, there is no need to disavow the connection but rather rearticulate the dynamism of both with personas of a coastal philosophy. The breakthrough came when I met Antonio Boliva, who became friend, stranger, sufi, shaman and confidant. His near death experience and consequent zest for life, helped me to see everything in a new light.
The resultant self-directed field and archival work of this collaboration has proved invaluable in producing a minor literature of place. This paper provides a brief prologue proceeding to discuss some of the key concepts of a coastal philosophy, working in an affective register with creative practice both literary and artistic. Highlighting Boliva’s skill in ‘pareidolia’ encouraged by Leonardo as a method to exercise the imagination, disparaged by sceptics as the portent of madness. Further theorising ‘hierophony’ (sacred in the ordinary) as practice, in the context of cascading biological diversity by species extinction, toward kinship and a multi-species sense of place.
Symposium Presentation: The multi-plexity of Water and its uses in practical, symbolic and creati... more Symposium Presentation: The multi-plexity of Water and its uses in practical, symbolic and creative terms Kim Satchell 2007 ‘Making Eco-sense of Water: Surf Culture, Cultural Studies and the Eco-humanities, panel Water culture in transition (with Fiona Allon), In the Pipeline: A Symposium, 19th July, University of Western Sydney
Chapter in Landscapes of Exile: Once Perilous, Now Safe p. 97--114
discusses sensuous scholarshi... more Chapter in Landscapes of Exile: Once Perilous, Now Safe p. 97--114
discusses sensuous scholarship in the minor literature of place
An epic poem of magic-realism and mytho-poetics from a poetry reading the 'Poetics of Place'with ... more An epic poem of magic-realism and mytho-poetics from a poetry reading the 'Poetics of Place'with Kangaloon: Creative Ecologies members Deborah Bird Rose, Lorraine Shannon, Peter Boyle and the late Martin Harrison
I find a small piece of sea glass with the word THIS imprinted upon its surface. The message in t... more I find a small piece of sea glass with the word THIS imprinted upon its surface. The message in the broken bottle impresses itself upon my imagination. Finds me and then gets my attention. Let's just say. I know such a talisman is not just a piece of glass. Some people call sea glass mermaid tears, lucky tears, sea gems or beach glass among other things. Sea glass is an instance where the interaction between the detritus of human rubbish with the surrounds makes something of strange value. The glistening amber surface refracted in the shallow rock pool caught my gaze. A closer inspection of the shard revealed the cryptic message in what once was a bottle. The classic 'message in a bottle' needs to be broken to reveal the contents. However, this message in a bottle appears as the sole remains of an already broken vessel become touchstone.
Let us design an interesting itinerary, one that leaves its optimal talweg and begins to explore ... more Let us design an interesting itinerary, one that leaves its optimal talweg and begins to explore a place: one which does not reach a foreseeable resolution, but searches; seems to wander; not deliberate or sure of itself, but rather anxious, off balance and relentless; questing, on the watch, it moves over the whole space, probes, checks things out, reconnoitres, beats about the bush, skips all over the place; few things in the space escape its sweep; whoever follows or invents this itinerary runs the risk of losing everything or inventing; if he makes discoveries, it will be said of his route that he has left the talweg to follow strange attractors (Serres 2008: 271).
In this essay, I consider the poetics of the weather and studies in creativity, as a site to deve... more In this essay, I consider the poetics of the weather and studies in creativity, as a site to develop emplaced relations for a multi-species sense of place and research methods for place-based inquiry. I take up the theme of this TEXT Special Issue, 'Writing creates ecology: Ecology creates writing' as a conversation seeking generative responses to current dilemmas in terms of both ecology and higher learning. The context of the broader conversation sustains a personal inquiry that is quite specific and particular. The relationship I have to the work and that, to which it speaks, is intimate and lived. The themes woven into the piece are in tension with an individual and collective responsibility to respond to the more-than-human world in ecological crisis. The work is in progress, speculative and open-ended; I embody the work not merely as another project but as seeking a manner of life to live. The focus of these concerns can be summarised as revolving around varied forms of attention, modes of inquiry and modes of address. The material is accumulative and accretive, predicated upon the continuity of self-directed field and archival work, undertaken in the form of experimental philosophy, creative writing and living. The manner of writing is multimodal, nonlinear, fractal, writing ecology as the resonance of a place from which the ecology emerges in the writing, reliant upon a recursive and synergistic recollection of fragments, shards, uneven and jagged pieces to formulate a whole. The ecological imagination at work morphs into a substantive form of creativity, as an everyday practice making sense and making art, as ecology and as cultural memory.
A work of creativity glides and planes along a fluid roller; and writes on the wave, as its peril... more A work of creativity glides and planes along a fluid roller; and writes on the wave, as its perilous roarings transform themselves into music, and the breaking of its wave will become volume uncoiled. (Serres 1995, p. 35)
... conversations around race, sex and gender issues (Evers 2004), it is the telling reminder of ... more ... conversations around race, sex and gender issues (Evers 2004), it is the telling reminder of ... involving the interpellation of a surfing-subject whose assumed profile I will not bother recounting here. ... How and where to live? What good is living if nobody ever enchants the world? ...
Continuum-journal of Media & Cultural Studies, 2012
The stories of everyday life traverse the crossroads of perception and experience. They give voic... more The stories of everyday life traverse the crossroads of perception and experience. They give voice to the inner contours of a reflected cosmos whose whirls they follow. They undulate with the moving world in which they seek to live, survive and know intimacy. Stories are the navigations of people whose vulnerabilities plumb unknown depths, whose sea anchors seek to moderate the tumultuous events and circumstances of life. On occasion, they surf as a slide of supreme pleasure. The narratives they follow and the spaces they embody are critical to any understanding of the conditions of everyday life, including the daily life of academics. In the context of this paper, creative research practice offers an emergent form of cultural studies, engaging the world in more descriptive and speculative terms.
This chapter considers philosophical practice as creative form of pedagogy involving a range of c... more This chapter considers philosophical practice as creative form of pedagogy involving a range of creative practices as practice-led research.
experimental philosophy
Affective Habitus: New Environmental Histories of Botany, Zoology and ... more experimental philosophy
Affective Habitus: New Environmental Histories of Botany, Zoology and Emotions
5th ASLEC-ANZ Biennial Conference, Humanities Research Centre, Australian National University, Canberra, 19-21 June 2014
Paper Abstract
Antonio Boliva’s On the Edge of the Fold: Madness and Extinction
Kim Satchell (Southern Cross University)
In What is Philosophy? Deleuze and Guattari refer to crazy etymological exercises and conceptual personas as philosophical athleticism. They posit the thinker in the conceptual persona of a surfer and then renounce the sporting figure in pursuit of another. However as a surfer and thinker, there is no need to disavow the connection but rather rearticulate the dynamism of both with personas of a coastal philosophy. The breakthrough came when I met Antonio Boliva, who became friend, stranger, sufi, shaman and confidant. His near death experience and consequent zest for life, helped me to see everything in a new light.
The resultant self-directed field and archival work of this collaboration has proved invaluable in producing a minor literature of place. This paper provides a brief prologue proceeding to discuss some of the key concepts of a coastal philosophy, working in an affective register with creative practice both literary and artistic. Highlighting Boliva’s skill in ‘pareidolia’ encouraged by Leonardo as a method to exercise the imagination, disparaged by sceptics as the portent of madness. Further theorising ‘hierophony’ (sacred in the ordinary) as practice, in the context of cascading biological diversity by species extinction, toward kinship and a multi-species sense of place.
Symposium Presentation: The multi-plexity of Water and its uses in practical, symbolic and creati... more Symposium Presentation: The multi-plexity of Water and its uses in practical, symbolic and creative terms Kim Satchell 2007 ‘Making Eco-sense of Water: Surf Culture, Cultural Studies and the Eco-humanities, panel Water culture in transition (with Fiona Allon), In the Pipeline: A Symposium, 19th July, University of Western Sydney
Chapter in Landscapes of Exile: Once Perilous, Now Safe p. 97--114
discusses sensuous scholarshi... more Chapter in Landscapes of Exile: Once Perilous, Now Safe p. 97--114
discusses sensuous scholarship in the minor literature of place
An epic poem of magic-realism and mytho-poetics from a poetry reading the 'Poetics of Place'with ... more An epic poem of magic-realism and mytho-poetics from a poetry reading the 'Poetics of Place'with Kangaloon: Creative Ecologies members Deborah Bird Rose, Lorraine Shannon, Peter Boyle and the late Martin Harrison
I find a small piece of sea glass with the word THIS imprinted upon its surface. The message in t... more I find a small piece of sea glass with the word THIS imprinted upon its surface. The message in the broken bottle impresses itself upon my imagination. Finds me and then gets my attention. Let's just say. I know such a talisman is not just a piece of glass. Some people call sea glass mermaid tears, lucky tears, sea gems or beach glass among other things. Sea glass is an instance where the interaction between the detritus of human rubbish with the surrounds makes something of strange value. The glistening amber surface refracted in the shallow rock pool caught my gaze. A closer inspection of the shard revealed the cryptic message in what once was a bottle. The classic 'message in a bottle' needs to be broken to reveal the contents. However, this message in a bottle appears as the sole remains of an already broken vessel become touchstone.
Let us design an interesting itinerary, one that leaves its optimal talweg and begins to explore ... more Let us design an interesting itinerary, one that leaves its optimal talweg and begins to explore a place: one which does not reach a foreseeable resolution, but searches; seems to wander; not deliberate or sure of itself, but rather anxious, off balance and relentless; questing, on the watch, it moves over the whole space, probes, checks things out, reconnoitres, beats about the bush, skips all over the place; few things in the space escape its sweep; whoever follows or invents this itinerary runs the risk of losing everything or inventing; if he makes discoveries, it will be said of his route that he has left the talweg to follow strange attractors (Serres 2008: 271).
In this essay, I consider the poetics of the weather and studies in creativity, as a site to deve... more In this essay, I consider the poetics of the weather and studies in creativity, as a site to develop emplaced relations for a multi-species sense of place and research methods for place-based inquiry. I take up the theme of this TEXT Special Issue, 'Writing creates ecology: Ecology creates writing' as a conversation seeking generative responses to current dilemmas in terms of both ecology and higher learning. The context of the broader conversation sustains a personal inquiry that is quite specific and particular. The relationship I have to the work and that, to which it speaks, is intimate and lived. The themes woven into the piece are in tension with an individual and collective responsibility to respond to the more-than-human world in ecological crisis. The work is in progress, speculative and open-ended; I embody the work not merely as another project but as seeking a manner of life to live. The focus of these concerns can be summarised as revolving around varied forms of attention, modes of inquiry and modes of address. The material is accumulative and accretive, predicated upon the continuity of self-directed field and archival work, undertaken in the form of experimental philosophy, creative writing and living. The manner of writing is multimodal, nonlinear, fractal, writing ecology as the resonance of a place from which the ecology emerges in the writing, reliant upon a recursive and synergistic recollection of fragments, shards, uneven and jagged pieces to formulate a whole. The ecological imagination at work morphs into a substantive form of creativity, as an everyday practice making sense and making art, as ecology and as cultural memory.
A work of creativity glides and planes along a fluid roller; and writes on the wave, as its peril... more A work of creativity glides and planes along a fluid roller; and writes on the wave, as its perilous roarings transform themselves into music, and the breaking of its wave will become volume uncoiled. (Serres 1995, p. 35)
... conversations around race, sex and gender issues (Evers 2004), it is the telling reminder of ... more ... conversations around race, sex and gender issues (Evers 2004), it is the telling reminder of ... involving the interpellation of a surfing-subject whose assumed profile I will not bother recounting here. ... How and where to live? What good is living if nobody ever enchants the world? ...
Continuum-journal of Media & Cultural Studies, 2012
The stories of everyday life traverse the crossroads of perception and experience. They give voic... more The stories of everyday life traverse the crossroads of perception and experience. They give voice to the inner contours of a reflected cosmos whose whirls they follow. They undulate with the moving world in which they seek to live, survive and know intimacy. Stories are the navigations of people whose vulnerabilities plumb unknown depths, whose sea anchors seek to moderate the tumultuous events and circumstances of life. On occasion, they surf as a slide of supreme pleasure. The narratives they follow and the spaces they embody are critical to any understanding of the conditions of everyday life, including the daily life of academics. In the context of this paper, creative research practice offers an emergent form of cultural studies, engaging the world in more descriptive and speculative terms.
Uploads
Papers by Kim Satchell
Affective Habitus: New Environmental Histories of Botany, Zoology and Emotions
5th ASLEC-ANZ Biennial Conference, Humanities Research Centre, Australian National University, Canberra, 19-21 June 2014
Paper Abstract
Antonio Boliva’s On the Edge of the Fold: Madness and Extinction
Kim Satchell (Southern Cross University)
In What is Philosophy? Deleuze and Guattari refer to crazy etymological exercises and conceptual personas as philosophical athleticism. They posit the thinker in the conceptual persona of a surfer and then renounce the sporting figure in pursuit of another. However as a surfer and thinker, there is no need to disavow the connection but rather rearticulate the dynamism of both with personas of a coastal philosophy. The breakthrough came when I met Antonio Boliva, who became friend, stranger, sufi, shaman and confidant. His near death experience and consequent zest for life, helped me to see everything in a new light.
The resultant self-directed field and archival work of this collaboration has proved invaluable in producing a minor literature of place. This paper provides a brief prologue proceeding to discuss some of the key concepts of a coastal philosophy, working in an affective register with creative practice both literary and artistic. Highlighting Boliva’s skill in ‘pareidolia’ encouraged by Leonardo as a method to exercise the imagination, disparaged by sceptics as the portent of madness. Further theorising ‘hierophony’ (sacred in the ordinary) as practice, in the context of cascading biological diversity by species extinction, toward kinship and a multi-species sense of place.
Kim Satchell 2007 ‘Making Eco-sense of Water: Surf Culture, Cultural Studies and the Eco-humanities, panel Water culture in transition (with Fiona Allon), In the Pipeline: A Symposium, 19th July, University of Western Sydney
discusses sensuous scholarship in the minor literature of place
Affective Habitus: New Environmental Histories of Botany, Zoology and Emotions
5th ASLEC-ANZ Biennial Conference, Humanities Research Centre, Australian National University, Canberra, 19-21 June 2014
Paper Abstract
Antonio Boliva’s On the Edge of the Fold: Madness and Extinction
Kim Satchell (Southern Cross University)
In What is Philosophy? Deleuze and Guattari refer to crazy etymological exercises and conceptual personas as philosophical athleticism. They posit the thinker in the conceptual persona of a surfer and then renounce the sporting figure in pursuit of another. However as a surfer and thinker, there is no need to disavow the connection but rather rearticulate the dynamism of both with personas of a coastal philosophy. The breakthrough came when I met Antonio Boliva, who became friend, stranger, sufi, shaman and confidant. His near death experience and consequent zest for life, helped me to see everything in a new light.
The resultant self-directed field and archival work of this collaboration has proved invaluable in producing a minor literature of place. This paper provides a brief prologue proceeding to discuss some of the key concepts of a coastal philosophy, working in an affective register with creative practice both literary and artistic. Highlighting Boliva’s skill in ‘pareidolia’ encouraged by Leonardo as a method to exercise the imagination, disparaged by sceptics as the portent of madness. Further theorising ‘hierophony’ (sacred in the ordinary) as practice, in the context of cascading biological diversity by species extinction, toward kinship and a multi-species sense of place.
Kim Satchell 2007 ‘Making Eco-sense of Water: Surf Culture, Cultural Studies and the Eco-humanities, panel Water culture in transition (with Fiona Allon), In the Pipeline: A Symposium, 19th July, University of Western Sydney
discusses sensuous scholarship in the minor literature of place