Mark D. Vagle
Post-intentional phenomenology is a phenomenological research approach that draws on phenomenological and poststructural philosophies. In its early conceptualization, post-intentional phenomenology was imagined as a philosophical and methodological space in which all sorts of philosophies, theories, and ideas could be put in conceptual dialogue with one another—creating a productive and generative cacophony of philosophies/theories/ideas that accomplishes something(s) that these same individual philosophies/theories/ideas may not be able to do, in the same way at least, on their own. Although this desire remains, post-intentional phenomenology now serves as more of an invitation for others to play with and among philosophies/theories/ideas to see what might come of such playfulness—and to have the work of the methodology itself potentially produce social change, however great or small. The post-intentional phenomenologist is asked not only to identify a phenomenon of interest, but also to situate the phenomenon in context, around a social issue. An underlying assumption of this methodology is that all phenomena are both personal and social—that is, phenomena are lived by individuals and are in a constant state of production and provocation through social relations. Such a methodological configuration can be of use to studies of teaching—as the work of teaching (as a post-intentional phenomenon) is lived, produced, and provoked by all sorts of entangled complexities that may or may not be conscious to the individual.
Walter S. Gershon
As its name suggests, sonic ethnography sits at the intersection of studies of sound and ethnographic methodologies. This methodological category can be applied to interpretive studies of sound, ethnographic studies that foreground sound theoretically and metaphorically, and studies that utilize sound practices similar to those found in forms of audio recording and sound art, for example. Just as using ocular metaphors or video practices does not make an ethnographic study any more truthful, the use of sonic metaphors or audio recording practices still requires the painstaking, ethical, reflexivity, time, thought, analysis, and care that are hallmarks for strong ethnographies across academic fields and disciplines. Similarly, the purpose of sonic ethnography is not to suggest that sound is any more real or important than other sensuous understandings but is instead to underscore the power and potential of the sonic for qualitative researchers within and outside of education. A move to the sonic is theoretically, methodologically, and practically significant for a variety of reasons, not least of which are (a) its ability to interrupt ocular pathways for conceptualizing and conducting qualitative research; (b) for providing a mode for more actively listening to local educational ecologies and the wide variety of things, processes, and understandings of which they are comprised; (c) ethical and more transparent means for expressing findings; and (d) a complex and deep tool for gathering, analyzing, and expressing ethnographic information. In sum, sonic ethnography opens a world of sound possibilities for educational researchers that at once deepen and provide alternate pathways for understanding everyday educational interactions and the sociocultural contexts that help render those ways of being, doing, and knowing sensible.