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Understanding More Fully: A Multimodal Hermeneutic-Phenomenological

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Article  in  Qualitative Research In Psychology · April 2014

DOI: 10.1080/14780887.2013.853854

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Understanding More Fully: A Multimodal Hermeneutic-

Phenomenological Approach
a a
Zoe Boden & Virginia Eatough
a
Birkbeck University of London, Psychological Sciences , London , UK
Accepted author version posted online: 24 Oct 2013.Published online: 24 Oct 2013.

To cite this article: Qualitative Research in Psychology (2013): Understanding More Fully: A Multimodal Hermeneutic-
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 ACCEPTED MANUSCRIPT

Understanding More Fully: A Multimodal Hermeneutic-

Phenomenological Approach
Zoe Boden and Virginia Eatough

Birkbeck University of London, Psychological Sciences, London, UK

Correspondence: Dr. Zoe Boden, Birkbeck University of London, Psychological Sciences,

Malet Street, London, WC1E 7HX, United Kingdom. E-mail: [email protected]=
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Author Bios: XXXX

ABSTRACT: This article shares a research methodology that we argue supports human science

researchers in their aim to understand lived experiences more fully. Drawing on Merleau-

Pontian thinking, the paper outlines three dimensions of sense experience that underpin our

approach: the felt-sense, aesthetic aspects of language, and visual imagery. We then detail this

approach: the data-collection phase is a creative interviewing method, adapted from Imagery in

Movement Method (Schneier, 1989) and focusing technique (Gendlin, 1997). This results in

multimodal data: drawings, bodily and verbal accounts, rich in imagery. The analysis is an

expanded hermeneutic-phenomenology, and in this article we focus in particular on our method

for interpreting visual data. Three examples taken from a case-study about feeling guilty are

provided to illustrate the potential of the approach. The paper concludes with some reflections

on the impact of using a multimodal approach in human science research.

KEYWORDS: multimodal, phenomenology, guilt, focusing, metaphor

This article describes a methodological approach that we believe may be useful to other human

science researchers, who, like us, are interested in exploring lived experience as fully as possible.

There are a growing number of researchers who are committed to moving beyond the reflected

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upon and languaged dimensions of experience, to additionally explore pre-reflective, bodily, felt

experience through various means. This paper argues that one way these felt dimensions become

(at least partially) accessible to qualitative researchers is by using a multimodal approach to data-

collection and analysis. In this paper we describe and reflect upon one such approach, and to

illustrate its potential, draw on material from a case-study about what-it-is-like to feel guilty.

Through attention to the multi-sensory, aesthetic aspects of an experience, and how they are
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disclosed in our research encounters, we argue that researchers can gain a fuller understanding of

lived experiences. Firstly, we will briefly situate our research approach within the landscape of

hermeneutic-phenomenology.

Phenomenology is a branch of philosophy interested in our encounters with phenomena

as they appear to us in consciousness (Langdridge, 2007). It was articulated in the early twentieth

century primarily by Husserl, Heidegger, Merleau-Ponty and Sartre. The principles of

phenomenology were applied to psychological research by Van Kaam (1966), Fischer (1974)

and Giorgi (1970) who aimed to illuminate the human condition through understanding lived

experience (Langdridge, 2007). Phenomenological psychology offers a way to access human

experiences that are often difficult and complex (Giorgi, 1997), particularly to explore

subjectivity and embodiment, which are limited by the discursive paradigm (Willig, 2007). A

phenomenological approach allows researchers to focus on how we perceive the world in all its

fullness and richness; our lived experience (Langdridge, 2007). This includes both reflective

meaning-making (using discursive resources) (Smith et al., 2009), but also pre-reflective, pre-

linguistic understanding.

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Broadly speaking there are two approaches to phenomenological psychology; descriptive

and hermeneutic (interpretative). Giorgi’s (1997) descriptive phenomenology aims to generate a

general structure of the phenomenon by comparing individual experiences to find elements in

common. Idiographic elements are “discarded or typified and generalized” (Finlay, 2009, p9).

However hermeneutic phenomenological methods, such as those of the Dallas school (Churchill,

2003; Garza 2007, Van Manen, 1990), or British approaches such as Embodied Enquiry (Todres,
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2007) or Interpretative Phenomenological Analysis (IPA; Smith, Flowers and Larkin, 2009),

embrace interpretation (Finlay, 2009). Our approach follows from these latter methods. We are

interested in exploring all the dimensions of a participant’s lifeworld (embodiment, temporality,

selfhood etc.) as underpinned by the work of Merleau-Ponty. We have a specific and explicit

commitment to the hermeneutic nature of phenomenological research, the embedded and

intersubjective nature of human experience (‘being-in-the-world’), and the primacy of the body.

Epistemologically, hermeneutic-phenomenological research does not subscribe to the

‘God’s eye view’ because we (like our participants) are enmeshed with the world, and as such

must take a perspective on the phenomena we encounter. We are always already interpreting as

we perceive (Merleau-Ponty, 2002/1945), and it is both inevitable and fundamental to our human

condition (Finlay, 2009). The world as disclosed to me, in my situated body, is different from the

world disclosed to our research participants. Although we do share fundamental aspects of being

human (the ontological conditions), we have idiographic ways of experiencing our lives (the

ontic conditions) that can be explored through empirical phenomenological psychology

(Langdridge, 2007). Following Merleau-Ponty (1968/1964), phenomena are seen as ambiguous

and paradoxical, with nuanced and multiple meanings (Finlay, 2009). Finlay (2009) points to

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Ihde (1993; 2003), to suggest that when embracing multiplicity in this way, phenomenology can

be placed within or even beyond postmodernism, in a realm where multiple voices can co-exist,

and multistability and multidimensionality are permitted. Thus, the interpretations we offer, in

this case regarding an experience of feeling guilty, are not the only interpretations available.

Understanding more fully

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Merleau-Ponty begins his essay, Eye and Mind (1964: 159), by railing against science,

describing it as artificial: “[s]cience manipulates things and gives up living in them”, he argues,

and scientific thinking ‘looks on from above’ at a generalised, objectified world. Merleau-Ponty

was making the case for viewing art as a means toward better understanding, but his call to

return to ‘living in’ phenomena, can also be seen as important for the human sciences. It is a call

to accept, consider and portray phenomena as they are given to us, fully and sensuously, in order

to ‘get closer’ to them. We share his concern that when it comes to understanding human

experiences; we should seek to know them directly (not generally or objectively), through

embodied engagement with the world. To do this, we must develop multimodal approaches that

consider phenomena in full regard of the “fundamental and most concrete level of human

experience which the Greeks called aisthesis: ‘sense experience’” (Casey, 1973: xvi). Thus,

understanding more fully is not about understanding a phenomenon more ‘correctly’ (multiple

interpretations are possible), but about investigating an experience more comprehensively by

acknowledging and exploring its sensory aspects, and thereby producing a more layered and

nuanced account of the phenomenon. Our multimodal approach is underpinned by three

dimensions of sense experience: the felt-sense, the aesthetic aspects of language, and visual

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imagery. First we will introduce these dimensions, before setting out the framework of our

approach. The approach includes a four-phase interview process, involving the participant

drawing an image in response to their experience, and attends explicitly to the felt-dimension of

the experience. It also includes an exapanded hermeneutic analysis, including a hermeneutic-

phenomenological analysis of the drawing. We will then illustrate this approach in practice,

through providing three examples from a case-study about the experience of feeling guilty.
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The felt-sense

For Merleau-Ponty, embodiment is the most fundamental dimension of the lifeworld. Being-in-

the-world accordingly is as a bodysubject, an embodied consciousness. Our bodies are how we

exist in the world, view the world and express ourselves (Madison, 1981). As the body is ever-

present and anterior to thought, it offers a means of communication with the world that is direct

and holistic (Gendlin, 2004; Todres, 2007). Bodily being and knowing inhabits the fringes of our

consciousness (James, 1890); it is pre-reflective, pre-linguistic, but nevertheless tangible, lived

experience. Sometimes, this bodily knowing is not an immediately identifiable specific emotion

or sensation, but something ‘fuzzy’ and difficult to pin down, yet also clearly ‘there’ inside you,

telling you about your situation. Gendlin (1997, 2004) describes this type of bodily knowing as

the felt-sense. It is “blurred […] diffuse, difficult to describe but nevertheless intense and

specific”, it evokes “a complex world of fleeting impressions, which are fuzzy, but full of

meaning.” (Petitmengin, 2007: 56). By turning our awareness inward to the centre of the body,

and ‘listening’, the felt-sense can be identified and its meanings explored. As human science

researchers, we attend to this fundamental dimension in order to account for lived experience

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more fully (Finlay, 2006). Practically, we can do this in three ways: by facilitating our

participants to attend to their felt-sense; through awareness of our interembodied relationship

with our participants; and by interrogating our own felt-sense responses reflexively (Finlay,

2005; Todres, 2007). Exploring the felt-sense of an experience through these layers of the

research encounter enriches our understanding of the phenomenon.

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The aesthetic aspects of language

An interest and commitment to bodily feeling does not however mean ignoring language, as the

lived body is the source of felt and languaged experience (Todres, 2007). Rather the challenge is

how to move from the meaning-rich felt-sense to the fullest possible verbal account of an

experience. In order to help therapists and researchers do this, Gendlin (1997) developed the

‘focusing’ method. Focusing involves pursuing the meanings inherent in the felt-sense through a

“back-and-forth movement between words and their felt complexity in the lived body” (Todres

& Galvin, 2008: 575). Using focusing technique in a research context can help participants

explore and language their felt-sense experience in ways that feel more ‘faithful’ to what they are

trying to express (Todres, 2007). It does this by encouraging participants to ‘try out’ words, to

explore language anew by attending to its aesthetic qualities, and to see which words feel right

(Todres and Galvin, 2008). When found, the ‘right’ words resonate in the body, leading to a

visible indication of relief or release, for example relaxing back in their seat. But this is a

tentative and iterative process. Finding the ‘right’ words necessarily begins with the felt-sense,

but as language is itself is a bodily act, a gesture full of meaning (Merleau-Ponty, 2002/1945), it

is only when words adequately ‘speak’ of the experience that they feel right. In this way,

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participant and researcher can slowly move towards a shared “bodily sensed understanding,

which, when adequate, is experienced as a ‘coming home’” (Todres and Galvin, 2008: 572); a

sense of resolution in the communication of a felt experience.

Yet, certain experiences may seem ‘unsayable’, and in these instances analogy, metaphor and

imagery can offer a means to communicate the complexities of felt-sense experience outside of
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literal language (Schneier, 1989). Sometimes participants will seek to express their bodily

experiences through invented, spontaneous metaphors (Svendler Nielsen, 2009), but researchers

can also prompt participants to try out metaphors and imagery. Metaphors can aid participants’

meaning-making (Schön, 1993), act as a ‘safe bridge’ to enable expression of painful or

distressing feelings (Shinebourne and Smith, 2009), and add “a more vivid level of

understanding”, evoking richer and more nuanced responses in the listener/reader (Levitt,

Korman and Angus, 2000: 23). Metaphor is worth pursuing because it offers a link between the

felt-sense and language (Stelter, 2000), connecting us to the place where “language speaks

through silence” (Van Manen, 1990: 49). By listening and feeling for the sensuous, rich,

aesthetic ‘inner dimension’ of the participants’ words (Todres, 2007), researchers are provided

with an additional layer of meanings to explore through interview and analysis.

Visual imagery

Non-linguistic metaphors may provide an alternative starting-place to explore participants’ lived

experience, especially where language seems inadequate and words are difficult to find. Visual

images can provide the potential for “thick depiction”, to complement the potential for ‘thick

description’ in a traditional, in-depth interview, by providing a way to capture some of the

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participant’s bodily knowing whilst circumventing language (Kirova and Emme, 2006: 2; see

Ponterroto (2006) for a discussion of ‘thick description’). Whilst partial and not capable of

capturing any objective ‘reality’ (Kirova and Emme, 2006), visual images are a way of offering

up and interpreting a particular experience. Images offer ambiguity, so they work best

metaphorically, where multiple meanings can be found (Dake and Roberts, 1995). An image is

also experienced on a sensory, felt level (Hustvedt, 2006) and in part echoes how its creator was
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bodily involved in the creation (Merleau-Ponty, 1964). This kinaesthetic aspect of viewing an

image mirrors the kinaesthetic aspect of making it, which in turn may reveal something of the

experience being expressed. Merleau-Ponty (1964) draws attention to this by describing how an

image is intertwined with its creator through the bodily relationship. The image is not a

representation of the world, but a way of ‘speaking’ it and ‘delivering up its meaning’ (Madison,

1981:96). For the viewer, encountering an image is not a sequential experience, like reading, as

an image presents itself all at once and remains there, unchanging, a permanent residue of the

subjectivity present in its creation (Hustvedt, 2006). As such, visual imagery offers a ‘way in’ to

the phenomenon that is non-linear, non-linguistic, and directly intertwined with the felt-sense

experience. Thus, an image created by a participant can provide an interesting starting point for

discussion in interview, but can also provide in itself a medium through which to explore the

phenomenon more fully.

We have briefly outlined the importance of these three dimensions of sense experience

(the felt-sense, the aesthetic aspects of language, and visual imagery) which form the

underpinnings of our multimodal approach. In doing so we are subscribing to Kirova and

Emme’s (2006: 22) “expanded hermeneutic phenomenology”, which understands research ‘texts’

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to include any pertinent sensory information. Bodily, visual and verbal data are all valid forms of

meaning and offer sites for interpretation. In the next section we will describe how we translated

this thinking into a structured data-collection and analytic method.

Our approach

Multi-modal data collection

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We used Imagery and Movement Method (IMM; Schneier, 1989) as the basis for a novel

phenomenological, semi-structured interview that collected bodily, verbal and visual, data. IMM

argues that typically we have two states of being, the ‘analog’, characterized by imagery,

metaphor, analogy, pattern and intuition, and the more every-day ‘digital’ state, the rational,

linear, verbal mode. IMM facilitates individuals to explore their feelings and thoughts more

deeply by encouraging them to connect with their ‘analog’ state. It was originally developed as a

therapeutic tool, but IMM can be adapted for phenomenologically-oriented research (Robbins,

2003; Schneier, 1989). Schneier argues that the method encourages participants to offer “visual,

auditory, olfactory, proprioceptive, and kinaesthetic images as well as thoughts and feelings”

(Schneier, 1989: 326), and that therefore it may prove valuable for exploring the body-world

relationships associated with Merleau-Ponty’s concerns.

An IMM therapy session (Schneier, 1989) has four phases:

1) Expression: The client is guided to make an abstract, colour drawing, either with or

without the stimulus of a particular experience.

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2) Mapping: The client is guided through a process of interpreting their drawing. This is

firstly in terms of each separate element, and secondly in terms of the whole image.

This is an orientation phase, with the drawing providing a map to the client’s “inner landscape”

(Schneier, 1989: 316).

3) Fantasy Enactment: The client begins by ‘inhabiting’ the most powerful or ‘charged’ part
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of the image, and allowing the scene “to unfold before her like an inner movie” (Schneier, 1989:

316). The client is then helped to enact this scene, with the support of the therapist.

4) Verbal Translation: The client is encouraged to become more reflective, and to re-engage

with their ‘digital’ mode of being. This stage includes the client’s written reflections.

Our adaptation remains faithful to this process wherever possible, but some changes were

necessary to fulfil the ethical and methodological requirements of the research context. Firstly,

we felt that ‘Fantasy Enactment’ was too powerful to utilise outside a therapeutic context, so

instead we turned to Gendlin’s (1997) ‘focusing’ method as an alternative way of incorporating

the focus on bodily experience. Focusing encourages the participant to move between their felt-

sense experience and verbal, articulated understanding, just as IMM aims to move participants

from their ‘analog’ to ‘digital’ states. We chose to begin the interview with a focusing exercise to

support participants to shift into their ‘analog’ state, and we embedded focusing techniques

throughout the interview process so as to integrate bodily awareness into each phase (expression,

mapping, verbal translation). So, for example, during the expression stage, notes were made of

the bodily way in which the participant attended to their drawing, and, during the interpretation

stage we observed how the participant was bodily ‘in the room’ and occasionally a particular

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gesture was reflected back (e.g. ‘I noticed you were making this gesture, can you tell me

anything more about that?’). Secondly, we adapted the verbal translation phase, in line with

Robbins (2003), so that all reflections were spoken, rather than written, and included questions

that were less directive and more open-ended than those in the original IMM. This aligned the

process with a more traditional phenomenological research interview, which aimed to explore

the experience, rather than bring about therapeutic change.

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Therefore, the research interview was structured around four phases:

1) Focusing: The participant was guided through a preparation exercise. They were seated

and it was suggested they close their eyes if they felt comfortable with this. They were asked to

‘let the world sink away’ and ‘turn their attention inwards’. They were guided to focus their

attention on different areas of their body and notice what was happening (any sensations, tension

etc.) without trying to change it.

2) Expression: The participant was asked to think about a time they felt guilty about

something that happened in an intimate relationship. They were then asked to look at a selection

of coloured pens, crayons, pastels and pencils and to think about their experience. When ready

they were asked to ‘let’ their hand pick up whichever colour they felt attracted to and to begin an

abstract drawing. They were to continue focusing on their experience, and to keep drawing until

they felt finished. The interviewer attended to how the participant went about the process of the

drawing, for example the order in which elements were drawn, and the bodily way in which the

participant engaged with the activity.

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3) Mapping: Once the participant decided the drawing was finished, they were guided

through a process of interpreting their image, firstly in terms of each separate element, and then

as a whole. It is paramount that this interpretation is led by the participant, (albeit within the

context of the research encounter), so they discover their own meanings, as a process of

‘unfolding’ (Schneier, 1989). They were asked to choose one part of the drawing that seemed

most important to them and to attune themselves again to their bodily felt-sense and report
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anything at all that came to mind. When needed they were prompted to describe any sensations,

images or feelings that emerged whilst they were thinking about the guilt-experience and its

relationship to that element of their drawing. Once the participant had spoken about each

element, they were asked if there was a ‘story’ to the drawing or if they might choose a title. The

mapping phase focused the participant entirely on their felt-sense, without consideration of how

they or others had reflected on the experience. The interviewer attended not only to what was

said, but to the participant’s gestures and the bodily way they were ‘in the room’, as well as to

the interviewer’s own bodily responses.

4) Verbal Translation: Finally the participant was encouraged to become more reflective,

and was asked to narrate the events that surrounded their guilt-feelings. The participant was

encouraged to say how they ascribed meaning to what happened and to reflect on their feelings

about the events. The interview ended by asking the participant how they had felt about taking

part in the research.

Interviews were audio recorded and transcribed verbatim, and the drawings were kept as part of

the data. It is worth noting here that participants are not required to have any skill in drawing,

and that a thorough briefing prior to the interview was needed so that participants were

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completely prepared for the interview format, and could be reassured that their creative skills

were not being evaluated. After interview thorough reflexive notes were made, paying particular

attention to the way in which the drawing was done, the interviewer’s own bodily responses and

the interembodied encounter, including the background ‘tone’ of the interview. Any sensations

that had been experienced by the interviewer, thoughts and feelings about the participant’s

drawing process, their emotional engagement, and so on, were included. The data therefore
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included the interview transcript (verbal), the drawing (visual), and the researchers’ notes about

the bodily and intersubjective aspects of the encounter (felt, kinaesthetic).

An expanded phenomenological-hermeneutic analysis

Having collected such rich, multimodal data, we required a complementary analytic method that

was flexible enough to be adapted to suit all our data. We chose a hermeneutic-

phenomenological approach with three distinct, but intertwined phases: analysis of the transcript,

and analysis of the drawing, and thematic integration. The verbal transcripts were analysed

following a conventional psychological method of hermeneutic phenomenology, Interpretative

Phenomenological Analysis (IPA; Smith, Flowers and Larkin, 2009). This was adapted so that

during the initial noting (coding) stage, there was a constant back-and-forth between the drawing

and the participant’s verbal account, as one informed the other in hermeneutic dialogue.

Particular attention was paid to the use of metaphors and imagery, and time was spent exploring

the aesthetic qualities of the participant’s language. However, as much has been written about

using this method with verbal data, it is interpretation of the visual data in this study that

warrants particular attention here, and this has been under-explored elsewhere.

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The second, but intertwined, phase of analysis explored the researchers’ own

interpretations of the drawing. As with verbal data, there are different methods to interpret

images, including compositional analysis, semiology, discourse analysis, content analysis, and

psychoanalysis (Rose, 2001). Yet, Pink (2007) suggests researchers may also need to invent new

methods of organising and interpreting visual materials, therefore, to complement our theoretical

orientation, and to encourage a rigorous approach, we developed a hermeneutic-

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phenomenological framework (Tables 1 and 2). This drew on compositional analysis, which

seemed to resonate most closely with hermeneutic-phenomenological research approaches,

exploring how the image was made, how it is composed, and what meanings it may convey

(Rose, 2001). Detailed commentary was produced that first described, and then explicitly

explored the meanings inherent in each element of the framework. (See also Guillemin (2004),

for an alternative adaptation of Rose’s (2001) analysis.)

To interpret an image rigorously, the researcher must look at it very carefully (Rose,

2001), so that, through experiencing “the flux of tension and release, [they] can grasp the

rhythms of visual forces making up the structure […] arous[ing] each person’s resonating

personal associations and individual emotions” (Rose, 1991: 142, italics in original). At each

stage of the analysis the researchers’ paid attention to how the image and their analysis resonated

in their bodies. In this way, the researcher is engaged multimodally with the data. This process is

similar to ‘dwelling’ with verbal data; it is slow, careful and iterative. Merleau-Ponty (1964: 164)

suggests the viewer must be-with the image, and “see according to, or with it”. Its qualities

(depth, colour) are not ‘things’ in-the-world, but they do exist and are experienced in a very

particular way (Merleau-Ponty, 1964). A specific use of colour, for example, resonates with us

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because it tugs on the myriad sensory, culturally-embedded meanings we each hold in our

memories.

Finally, having reached a feeling of gestalt (Smith et al., 2009) with both the analysis of

the verbal transcript and drawings separately, all analytic comments were integrated to enrich

one another in a hermeneutic dialogue. This resulted in one set of emergent themes that were
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then clustered to create a thematic structure, which informed the writing-up process.

A note on using drawings as data

It is worth mentioning here that within qualitative psychology specifically there is a paucity of

research using images as data (rather than as an elicitation tool), and almost none using

drawings/paintings (Gillies, Harden, Johnson, et al. 2005). We found only three psychological

studies that used participant-produced drawings or paintings as data (Gillies et al., 2005;

Guillemin, 2004; Robbins, 2003), and very little is written about undertaking this type of

research in this context. Necessarily therefore, we have turned to the fields of sociology and art

therapy to support our approach (e.g. Gladding, 1992; Pink, 2007) One important

epistemological issue for researchers using images is how to ‘read’ visual material, because, as

with verbal material, its ‘status’ requires definition (Gillies et al., 2005). Gillies et al. (2005)

offer four different ways to read their research paintings; a) as telling something about the

phenomenon, b) as telling something about the person who produced it, c) as telling something

about the cultural resources available in relation to the topic, or d) as a stimulus to elicit further

talk. In our study, we chose to ‘read’ the drawings firstly as a means to elicit verbal exploration

in the interview, but secondly, as telling us something about the phenomenon itself, through

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interpretative analysis. We argue (like Guillemin, 2004) that drawings produce meanings

independently of a verbal narrative, and that when situated within the context of the research as a

whole, drawings can provide a rich source of meaning. Whilst images are undoubtedly

ambiguous (Dake and Roberts, 1995; Pink, 2007), so is language (Lynn and Lea, 2005),

therefore just as phenomenological researchers understand verbal data to partially represent a

participant’s reality (Smith, 1995), so drawings can also be seen as a partial manifestation of
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meaning and significance for the participant. Like language, images are the product of a

particular shared culture (Reavey and Johnson, 2008), time and place (Guillemin, 2004). So, in

line with an expanded hermeneutic-phenomenological methodology, we treated visual and verbal

data similarly: the participants’ own meaning-making is primary (empathic hermeneutics), but

the researchers’ meaning-making is also of importance (questioning hermeneutics; see Ricoeur,

1970, for the original description of empathic and suspicious hermeneutics, and Smith et al.,

2009 for a description of the adaptation to which we subscribe).

Edward’s case: Three illustrations of a multimodal approach

To illustrate the potential of this multimodal approach, we now present three brief examples

from one participant’s account of his guilt-experience. These examples demonstrate the utility

of: visual-to-verbal imagery, multimodal metaphor, and the researchers’ interpretation of the

drawing. Our participant, Edward (a pseudonym), was in his early thirties. He was unknown to

the researchers and responded to a call to interview men about their experiences of feeling guilty

within an intimate relationship. This case-study followed the interview and analytic procedure

described above, and formed part of a larger hermeneutic-phenomenological project that

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primarily asked ‘what is it like to feel guilty?’ Edward’s account described an experience of

infidelity during a long-term, heterosexual relationship (See Boden, 2013 for further details). He

chose oil pastels for his drawing, which he originally produced ‘landscape’, but rearranged to a

‘portrait’ layout during the interview (Figure 1).

Visual-to-verbal imagery: A threshold

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This first example illustrates how Edward ‘discovered’ a visual metaphor in his drawing, how

this imagery was developed in the interview, and how this pointed us towards a fuller

understanding of the centrality of ambivalence in Edward’s guilt-experience. Edward had been

reticent to engage with his drawing at first, but after turning his image around by 90⁰, he

immediately identified a ‘doorway’ in the cavernous quality of his drawing. This doorway

‘popped’ out the moment he turned the drawing around and literally changed his perspective.

This metaphor and associated imagery then became a touchstone throughout the interview,

helping Edward communicate and make sense of his experience.

Edward described how the doorway led him to familiar location, where “the things that I

was alluding to before took place”. Engaging imaginatively with this imagery, Edward was

asked to describe what it was like outside that doorway:

E: Erm (5) I guess outside is a lot darker. It looks like inside is slightly warmer, but then at the

same time it also looks like it’s (2) like there’s almost like a fiery aspect, which, erm, I don’t

know. I guess it indicates there’s er, that going inside, although while it looks warmer and more

inviting, there’s um, it leads to more complications, than perhaps outside, that is colder and

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maybe darker, and gloomier […] if you take the right route to avoid causing someone hurt or

loss, it’s even if it’s the right route to take, that can perhaps lead to unhappiness or even

complete discontent, whereas taking the wrong route, in a sense, although whilst warm and

inviting, and it looks like the most positive thing to do, um, purely on a selfish level, it’s not (3) I

don’t know, it invites further complications, so I don’t know. […]

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In analysis we considered how Edward’s doorway represents an important threshold, both as a

material part of his experience, but also as a metaphorical route to understanding his infidelity.

Outside the door represents his current relationship, cold and dark, whilst inside is warm and

inviting. Outside is mundane, whilst inside remains mysterious. Edward’s experience of this

duality is complicated by his understanding that while inside may be inviting, that warmth is

fiery; inviting him in, but also inviting complications into his life. Looking at this extract in

terms of the felt-sense being explored here, we suggest that Edward’s doorway communicates a

feeling of paralysis. He feels pulled between two worlds (sameness and otherness), each of

which simultaneously attract and repel him. His guilt-experience begins with a feeling of being

pulled between, and apart, by his ambivalent desires.

Further, Edward accounts for his choice to ‘cross the threshold’ by describing being

“drawn to the idea” of being with the “other person”. His doorway symbolises his felt-sense of

being pulled into temptation, and he expands on this aspect through playing with the threshold

imagery in layered ways:

E: It’s about temptation I suppose, going through the door. […] I think in most of these

situations you do reach, you do reach an edge when you can go either way. And you know when

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you are there. […] obviously you are aware of your own hesitancy, and you are aware of what’s

right and wrong, what you believe is, you know, the right thing to do in a certain situation. But

you kind of reach a sort of precipice, where you can either go over or you can stay on the other

side, where, the other side almost kind of denotes safety. It kind of denotes this idea of, yeah, it

can be dull, grim, boring, I guess like the weather was. Or it can be, you know, doing the wrong

thing, going over, is, can be more exciting, more interesting.

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Here Edward extends the threshold metaphor through describing “going over” and standing on a

“precipice”. This imagery further highlights Edward’s felt-sense of danger, and again illustrates

his ambivalence. The Otherness tempts Edward precisely because it is paradoxical; a mesmeric

alchemy of fiery danger and inviting warmth. The invitation of the situation cannot be separated

from its danger; it is one and the same (Carr, 2009), and it is drawing him in. Yet simultaneously,

there is again a sense of paralysis, as Edward vacillates on his threshold, uncertain which option

is ‘right’. This lived experience of ambivalence is particularly evident in the incoherence of his

imagery. For example, “you can go over or stay on the other side” reveals he is unclear which

side is now ‘other’. Is he moving into difference, or already there? As sameness and otherness

dissolve, Edward seems confused as to what represents the alterity of ‘Other’, and what he has

already incorporated into himself. For us as researchers, Edward’s imagery allows us to see that

whilst he acknowledged clear dichotomous moments of choice, his sense-making around this

experience remains confused because of his feelings of ambivalence. Edward’s ‘discovery’ of

this imagery within his drawing and our being able to ‘play’ with it during the interview

powerfully facilitated a fuller understanding of this aspect of his experience.

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Multimodal metaphor: A syrupy tone

In attempting to ‘get-close’ to the felt experience of guilt, part of the ‘translation’ phase of the

interview explicitly asked Edward to explore various sensory metaphors. After ‘trying out’ some

of our suggestions (colour, texture), Edward led himself to an evocative adjective, “syrupy”, to

describe what he called the ‘tone’ of his experience.

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E: no one had really slept for a very long time, we were all in varying degrees of mood, and you

know, had taken all sorts of intoxicants and I don’t know why syrupy seems to be the, the tone

that sort of fits, but I think most people were speaking in this kind of way, as you do when you get

tired, but also er in a relatively flirtatious sort of way. […] what should have been one night I

guess but it just went on and it was very, it got murkier and more kind of, I don’t know, uncertain

as it continued. I think if we’re trying to highlight something that comes out, rather than colour,

or texture, I think the voice, the syrupy way that people were speaking, kind of like fits the

memory the most.

‘Syrupy’ is initially chosen to describe the tired, flirtatious and intoxicated way that people were

speaking (an auditory metaphor), but extending it to describe the ‘feeling-tone’ (Todres, Galvin

& Dahlberg, 2007) of his whole experience feels right for Edward. This is because ‘syrupy’ is a

multimodal metaphor, involving auditory, gustatory and kinaesthetic dimensions. In analysis we

embraced this multimodality. Where Edward links ‘syrupy’ with the murkiness of his drawing to

suggest disorientation, in analysis, we also explored the sweet, sticky, treacly, and treacherous

qualities of this word. We noted the sexuality this metaphor hints at, and how it echoes Edward’s

symbolic doorway as an experience that is ambivalently both inviting and dangerous. Further,

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‘syrupy’ summons up a thick and viscous tactility, which through attending reflexively to our

felt-sense responses, suggests melting and melding, which when coupled with sensuality, again

echoes Edward’s experience of a fluid merging of self and Other. This deep interpretation of

‘syrupy’ then illuminates Edward’s altered experience of self, world and time:

E: I didn’t um think about it at the time. It was more something that was just ongoing […] It was
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before then (.) very, very hazy, very murky […] things were just taking place, it was just on-

going, and I guess that’s where things do get a little bit hazy, do get a little bit murky.

Edward describes his infidelity as part of a hazy, murky world, an alternate reality that is

disorientating and dis-inhibiting, where one thing morphs into another. Here is a further merging,

this time of self and world, as both Edward’s state of mind and his world seem hazy. His normal

temporal experience also collapses, as time is stretched so that everything is eternally “on-

going” in the immediacy of the present.

Edward’s multimodal metaphor, ‘syrupy’, really illuminates the ‘what-it-is-like’ of his

guilt-experience; sultry, distorted, decelerated and confusing. It is the temporal slow of moving

through a viscous world, but also the sweet, headiness of intoxication, and the stickiness of a fly-

trap. By finding ‘syrupy’ to be the “tone that sort of fits”, Edward captures his felt-sense, but he

also locates his guilt-experience as a feeling of being caught within a morphed alternate reality,

where things are “uncertain”, in essence a world of Otherness. Edward’s discovery of this

multimodal metaphor was pivotal to our understanding of how his guilt as an altered way of

being-in-the-world.

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The researchers’ interpretation of the drawing: Layers of deception

One aspect of Edward’s experience that is problematic from an analytic perspective is the self-

deception, justification and denial inherent in the guilt-experience. Taking a more critical

perspective can partially illuminate this, for example exploring how Edward’s account of being

“drawn in” and overpowered by temptation is a way of minimising his personal accountability.
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But, for us Edward’s self-deception was particularly highlighted by comparing our own

interpretations of Edward’s drawing with his account. Here he describes how he produced the

drawing:

E: it was just about the importance I guess of filling the entire page, making sure that, you know-

[…] now that it’s completed, it’s over, it’s in the past, that sort of thing, that kind of makes, you

kind of make a slowly, more clear picture. You can fill the whole picture in if you’ve experienced

it and it’s all done. And it’s all to an extent out of the way.

It was very important to Edward that he cover the whole page with the oil-pastel, and he

interprets this as indicating that he has dealt with this experience and put it behind him. Although

Edward describes it as a ‘clear picture’, this interpretation was unconvincing. By comparing it

with our own interpretation, we were able to interrogate alternate meanings concealed within

Edward’s statement. Looking at his drawing, we see it is murky grey, brown and black, and he

chose oil-pastel, the most smudgy and greasy of the materials on offer, which he blended and

merged layer over layer. A short extract of our interpretation emphasises these qualities:

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This image is a powerful statement of the murkiness of Edward’s experience. Every sweep of

oil-pastel is used intently, and together they create a rough, furrowed, matt texture, like the

battlefields of the Somme […] The whole image is sludgy, difficult, dirty, heavy-going

muddiness. Edward produced the drawing in a deeply focused way. He pressed hard on to the

paper, trying to get as much colour from the pastel as he could, and chose each one with care,

hesitating to check the colour was correct. There was a deliberateness about these actions. […]
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There is depth in the nestling shapes, grey, red, brown, black, and a feeling of getting deeper into

something, or being swallowed up by it. All the weight of the image sucks you in and down. […]

Arguably, the drawing is scatological; it is an excretion of everything he wishes to be rid of.

Edward suggests that it is only now his experience is truly over that he can fill in the picture

clearly, yet in comparison, we suggest his image is covering, not clarifying this experience. It

transpires at the end of the interview that Edward has kept his infidelity secret from both the

other people involved. Keeping these ‘others’ in the dark perhaps means he cannot afford for his

experience to be too self-apparent either. But by drawing this dark and murky image, he seems to

reveal more of the ‘truth’ of his experience than his verbal account permits - rather than having

resolved his guilt, he has attempted to obscure it. He is engaged in a process of self-deception

that involves covering his experience under layers of justification, and burying it in his own

confusion. Thus, from our perspective, having his drawing and verbal account to interpret

together, helped us attend to how self-deception appears to play a part in Edward’s guilt-

experience. The apparent contradiction between Edward’s interpretation of his image and ours

sensitised us to other contradictions within the (verbal) account, and helped point us towards

alternative interpretations of Edward’s story, some of which we then chose to foreground. These

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interpretations helped us to flesh out a deeper understanding of Edward’s experience; one which

was able to incorporate his disclosure about keeping his behaviour secret.

Reflections

In this article we have argued that to do justice to the richness of human experience, researchers

should explore the use of multimodal methods of data-collection and analysis. We described
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how, with the help of Gendlin’s (1997) focusing techniques, we adapted Schneier’s (1989)

Imagery in Movement Method, to collect multimodal data, and then undertook an ‘expanded’

hermeneutic-phenomenological analysis. We illustrated our approach with three examples that

demonstrate how we explored visual-to-verbal imagery, multimodal metaphor, and our

interpretation of the drawing. Finally, we want to reflect briefly on this approach.

The method we have described resulted in verbal, visual, and bodily data, rich in metaphorical

imagery and ripe for interpretation. We feel that understanding bodily experience is fundamental

to understanding lived experience, and that due attention needs to be paid to both the

participants’ and the researchers’ felt-sense experience. Because a felt-sense often appears via

multiple sensory registers simultaneously, including the visual, kinesic, tactile and auditory

modes (Petitmengin, 2007), activities such as drawing, which tap into several registers at once,

can provide a rich source of meaning about an experience (Malchiodi, 2005) and can be

incorporated within the research process. Creating images aids exploration of those experiences

(like feeling guilty) that are not easily communicated verbally (Temple and McVittie, 2005), and

through drawing a participant may express something fundamental about their lifeworld that is

not necessarily verbally conscious at the start of the interview encounter. Via their drawings,

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participants can experience themselves and their stories differently (Gladding, 1992). The

drawing offers an anchor or container for their feelings (Malchiodi, 2005) providing enough

distance to permit a new perspective, such as when Edward reoriented his drawing and suddenly

discovered the doorway image.

In the act of drawing, the participant is bodily engaged with their felt experience
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(Malchiodi, 2005). Merleau-Ponty (1964) draws attention to this when arguing that an artist

translates the world into images via their body, not their mind. The bodily way in which an

image is drawn does not just provide a clue to how the experience is represented, it is the

expression of that experience (Schneier, 1989). The act of drawing and reflecting on the image

can involve real-time discoveries for participants, but this approach also helps highlight

inconsistencies and contradictions to the researcher. This was true in Edward’s case, where by

dwelling at length with the verbal, drawn and bodily data we could begin to make coherent sense

of Edward’s holistic guilt-experience, including the layers of deception and ambivalence.

Edward spent so long painstakingly covering every section of the paper, and this was echoed in a

felt-sense of him mired in his deception, persistently trying to conceal and contain his experience

from himself and others. His image expressed his struggle to bury something without being

buried along with it. The kinaesthetic qualities of his experience, re-enacted and captured in the

drawing, illuminate meanings in ways that verbal or visual data independently would not do with

such clarity or force.

The drawing process also gave rise to verbal interpretations that echoed the visual and

bodily elements, including ‘syrupy’, a multimodal metaphor that illuminated Edward’s feelings

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of disorientation and otherworldliness. Metaphors like this communicate felt-sense experience,

which in turn helps reveal the participant’s experience of being-in-the-world more fully. Edward

struggled to find the ‘right’ metaphor, but with support found the word that adequately expressed

his complex, multisensory experience, a metaphor that felt right. By exploring the aesthetic

aspects of his metaphors in our analysis, we were able to do justice to his attempts to translate his

felt-experience into verbal language.

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To conclude, working multimodally opens up multiple dimensions of experience for

exploration, and combining these, so as to work simultaneously across different sensory registers

(Petitmengin, 2007) was the key to developing a fuller understanding of Edward’s guilt-

experience. Methods like this allow the “multidimensional, subtle sense of embodied experience

and meaning making” (Svendler Nielsen, 2009: 90) to be communicated in a research context.

For us, those fragments of Edward’s experience that were at first concealed or unspeakable were

not only encouraged to surface, but helped illuminate his whole guilt-experience. We would urge

other researchers interested in the experiential dimension of human life to follow colleagues in

other fields by exploring multimodal approaches, such as the one described here, in order to

more fully understand their participants’ experiences, as they are lived.

Acknowledgements

The authors would like to thank ‘Edward’ for sharing his story. We would also like to thank the

two anonymous reviewers for their very helpful comments.

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Table 1. Framework for the analysis of the drawings

1. Contents: Describe each of the distinct elements of the image

2. Composition: How are the elements spatially laid out on the page? Are they sparse or dense,

are there areas of blank page, do the elements overlap? Is there a sense of repetition, ‘rhyme’ or
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pattern?

3. Balance: How do elements interplay? Is there a sense of equilibrium or disequilibrium? Is

there symmetry or pattern?

4. Geometry: What shapes are used? How do these interplay together?

5. Materials: Which material has been used for each element?

6. Texture: What are the textural characteristics of each element?

7. Colour: How have hue (colour), saturation (vividness) and value (lightness/darkness) been

used?

8. Depth / Perspective: What spatial depth and perspective has been created through space and

colour?

9. Temporality / Dynamism: Is there a sense of rhythm or movement? Does the image suggest a

snapshot, continuity or duration?

10. Focus: What is the visual focus of the image? What is your eye drawn to?

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11. Expressive content / Empathic reaction: What is the emotional tone of the image? What

feelings does the viewer have in response (bodily, emotional, memories, images)?

12. Signs / Symbolism: Are there any overt symbols or cultural references included?

13. Style: Does the image ‘shout’ or is it ‘quiet’, or something inbetween? Does the drawing

seem to imitate or reflect a particular trend or style e.g. cartoonish, child-like, modern, romantic,
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pop-art etc?

14. Text: Has any text been included, for example a title? Where has this been placed? In what

way has it been included? What style, font, capitalisation etc. is used?

15. Distraction / Noise: Do any elements draw your attention away from the main focus? Is there

a sense of confusion or clarity in the image?

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Table 2. Framework for the analysis of the production of the image

1. Speed: How quickly or slowly was the image produced? Did the participant spend longer on

particular elements?
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2. Pressure: How were materials used bodily? How much pressure was applied to the page?

3. Colour: How was colour chosen? With what degree of speed, decisiveness etc.?

4. Expression: What did the participants facial, gestural, or verbal expressions suggest about their

process?

5. Mood: What was the background atmosphere or ‘tone’ whilst the drawing was being created?

6. Emotion: Was any particular emotion evident in the production, or discussed in the interview?

7. Gestures: Were there any notable gestures or movements during the process?

8. Absorption: Were they involved or distanced from the activity?

9. Hesitancy: Were there any false starts or pauses in the process?

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Figure 1. Edward’s drawing after rotating it to reveal a ‘doorway’.
Downloaded by [Birkbeck College], [Virginia Eatough] at 06:24 29 January 2014

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