“Intertwangerlings”: A Multiple (Auto) Ethnography of Journeys, Gentle Collisions-Hard Boundaries, Statues, and Tilt and Turn Gate/Bridges at the 13th International Congress of Qualitative Research

The article introduces the concept of the “intertwangle,” a concept grounded within the gentle collisions of delegates at the 13th International Congress for Qualitative Inquiry at the University of Illinois and the simultaneous retelling of multiple autoethnographies of such encounters. Through such encounters and “retellings,” perhaps a different way of thinking about autoethnography is developed. The article presents a story of a journey to and through the 13th Congress. A journey of no answers and no certainty—this journey is not a collaborative sharing of data but more of the gentle collisions and the recounting of different stories located within shared experiences. It is a simple journey bounded by way-markers of uncertainty, at times self-deprecation, loss, and death. It is a journey of new beginnings, of no ends—of uncertainty rather than certainty, revealing rather than obscuring and expanding rather than reducing.


Introduction
In the contemporary moment, critical qualitative scholarshipincluding and perhaps critical auto ethnography-is asking the same question: How can we go on telling the same kind of stories in the same kind of ways. (Jones, 2017b, p. 2) I/We must not only listen but we must hear the stories of others.
The statue looked at the people and thought, "Why are they all moving about?" . . . Brendan Kennelly (1995) 1 Autoethnography was something I enjoyed reading; it motivated me but was something I did not truly understand. Urged to action by autoethnography, I needed to tell a story in a different way . . . a more meaningful way (see Jones, 2017b). Here, though I 2 stalled, I hesitated. Was this "I" just a token exchange in a game? (Serres, 2007) . . . I faced an issue-I did not understand. I wanted to write in a more inclusive way, my writing had to be less about the I, the me and the mine. For, while there may be no I in team, there is still a me. Autoethnography, it is argued, "starts with a body, a place, and a historical moment" (Spry, 2011in Denzin, 2017 and is a "site of moral responsibility" (See Richardson, 1990;in Bochner, 2016, p. 68). It is a popular approach that has gained widespread support as it offers a "fertile ground for interrogating dominant theoretical stances and hegemonic paradigms" (Lapadat, 2017, p. 589). But, I could not write alone. Such feeling led me to Serres (2007, p. 227) and his belief that "The 'we' is made by the bursts and occultations of the 'I'" as well as the passing and the substituting of the I. As Holman Davis details, "Assembling a 'we' in critical qualitative inquiry is a performative . . . [that] gathers the group together" through the act of speaking (see Butler, 2015;in Jones, 2017a, p. 131). She believes that the purpose of autoethnography "is not, as some assert a, 'me-search'." I could not agree more. I wanted to turn the notion of team writing upside down: 911616Q IXXXX10.1177/1077800420911616Qualitative InquiryHodkinson et al.

research-article2020
1 Liverpool Hope University, Hope Park, UK 2 Liverpool Hope University, England team -as the me is inverted the we that the I in the me had been looking for materializes. Not the hierarchical team, one with captains and lowly water carriers but . . . something perhaps different.
However, I am mindful that the I is also still very important to some researchers and is crucial to understand if we are to get a sense of the we in such teams. As Asli accounts, To me, a researcher's role is to channel the voice of societies, communities/groups, and individuals. To me, a researcher needs to be as objective as possible distancing her/himself as much as possible from her or his object of inquiry, without losing her or his sociological imagination and personal empathy . . . Therefore, I do not use "we" when the object of inquiry is the society of my country of origin. To me, it is necessary to be able to look at the object of inquiry and yourself as the researcher from a certain distance. It is positively important to alienate yourself to it so that you can only aim to comprehend it through the concepts and theory. To me, this is the only way to be the voice of the disadvantaged/oppressed universally. In fact, with this manner, I managed to communicate and understand Germans, Finnish, Americans, etc. in Illinois because at the end, to me, the common language is the "science" and the aim is solitary.
The following story, therefore, is not mine but reflects how people live and how our lives collide. As Homan Jones details, autoethnography is an affective force, it is "a surging rubbing, a connection of some kind that has an impact" where "people's bodies literally [affect] one another" (Stewart, 2007, p. 128). Lives where a singularity of meaning is spurious in any given situation/moment there are multiple mediated meanings which exist, coexist, disrupt, and decide. Revealing multiplicity appeared to me to be a "moral responsibility." We may not always be aware of this multiplicity but it is always there. A ghost, of experience, is always present in any given historical moment (see Hodkinson, 2019). Words we wanted to say but did not. What we thought, but could not express but scream to do so now. The I/we needed to write, not an autoethnography but a multiple of such ethnographies. Of gentle collisions, multiple meanings and the walking of one and many paths at the same time. Paths revealed in, and through, the writing of multiple versions of individual historical moments. This story morphed interdisciplinarity into a disruptive and sometimes comical term, one which gained traction in an hysterical historical moment in Murphy's Bar, Green Lane, Urbana and through multiple moments experienced because of the International Congress for Qualitative Inquiry (ICQI). The term in question is the "intertwangle." This article defines and mobilizes the intertwangle through a journey constructed around the 13th Congress. This journey though is not one of the answers, certainty or grand unifying claims. It is a simple "experimental" journey bounded by uncertainty, self-deprecation, loss, and death. It is a journey of new beginnings but no ends-uncertainty rather than certainty, revealing rather than obscuring and of expansion rather than reduction.

Journeys: Ends and Beginnings -
A journey end brings a new beginning . . . Amtrak, I love you, a silver moving box . . . sidings . . . reversing . . . sidings . . . sidings . . . conversations like fireworks explode as the colors of culture blast, scatter, collide . . . and the carriage is lit with the bright light of dialectics and discourse, dissonance and then perhaps defiance . . . "such gentle collisions crush more than steel, crack more than bones." "Hey are you from England?" "I love your accent. . ." "Hi I'm Ben from Poland . . . " Sat still . . . but moving fast as Illinois passes the window, a silver framed picture of lives and people I will never meet, never know . . . a glimpse of a child's face fast replaced by a lumbering truck, "these folds and edges," "extract longing"-a longing to stay still not to move fast. The carriage bursts into life as we discuss authenticity and politics-authenticity and qualitative research and authentic authenticity (Alan).
Another dialectic though crashes in . . . it is a forced collision, it disrupts the hyphen of authenticity-the soft bridge of the hyphen is replaced by a hard union (Serres, 2007). A gate of foreclosure forms an enclosure whose boundary is marked by the statute 3 of disciplinary experience. The boundary stone raises as tombstone to the discourse, a fallen angel with marble moss encrusted hair . . . " we all wear stereotype badges, symbols of bigotry-whatever we might profess . . ." (Alan) echoes around the carriage. Here then were "castaways who sought to drop anchor and grow roots elsewhere, thus changing elsewhere into here" (Serres, 2015, p. 38).
Particles and collisions-life's Hadron Collider-a search for a connection . . . a search for dark matter (here read meaning 4 ) but the particles skittered, bounced . . . and then scattered. They collided but did not connect. This was not molecular chaos theory. 5 My thoughts turn to ripples and pebbles-bouncing pebbles/bombs-bygone youth through to papers on loss, regret and new beginnings and searches in many forms for meaning. The hard boundary is reached. The angel is fallen-a conversation dims and the color of beginning explosions fades, dies and is no more.

(Alan)
The conversation on authenticity, named here as an "intertwangle" was a clineman, 6 but its Gordian knot was not lucky, in its tightening, it became unbound. This though was not death but merely a transition. Loss enveloped this silence, a pause, a stop . . . the journey to the Congress continued . . .
Gilman is near-the conductor paces-"Gilman, Gilman, Gilman is our next stop . . ." the tannoy crackles to life as the discourse dies.(Alan) Paul's journey though began in a different time and place-a gentle collision yet to be had . . . Siding One-An Attempt to Define an Intertwangle 7 I'm thinking lots of words, but very few sentences (Gingrich-Philbrook, 2017, p. 10).

Running through Fort
I have never found a concept that was grasped in a word (Derrida, 2005, p. 83) Defining a Definition (?) Inter-"a Latin prefix meaning between, among, in the midst of, mutually, reciprocally, together" Verb-third person present-place (a corpse) in a grave or tomb. . .
Tangle: to bring together into a mass of confusedly interlaced or intertwisted threads, strands to involve in something that hampers, obstructs, or overgrows Entangleto make tangled, ensnare, enmesh, to involve in difficulties, to confuse or perplex (Dictionary.com) Intertwangle: a sematic gentle collision; a "word crash" Noun: the intertwangle was a lengthy one. Verb: they were intertwangeling for quite some time. Following Jean Luc Nancy (1996) in defining the intertwangle I point beyond the word itself. The words inter, tangle, entangle in collision are both a "fold and a leap" (Stronach, 2010). This language is "out of joint" (Derrida, 2001) but the intertwangle joints together " . . . person to words, concepts, stories and theories" (Stronach, 2010, p. 177). Out of joint-but joining-with and against, inside and outside, a singularity but also a plural. A concept, ". . . in movement; of opposition; sequence and coalescence-a story that won't hold still across the 'empty' space of [its] disconnections" (Stronach, 2010, p. 179). As Stronach (2010) might account it is ". . . discursive magnetism, that at-tracts and dis-tracts the other" (p. 176). The hyphen, as a soft bridge, has importance here as meaning and value constantly move, forever, re/un/writing the other as in "relationless relating" fold and unfold, knot and unravel (See Critchley, 1998in Stronach, 2010. ". . . one plus one is three" (Stronach, 2010, p. 181) but with the intertwangle one plus one can also be four, five, six and counting . . . "the stories multiply rather than add." The journey begins again-statutes at crossroads . . . Sculpture bears ancient witness to the anthropological genesis of experience in general. It carves, drills, fashions. Rodin is right: gate is the true name of the sculpture's ark. (Serres, 2015, p. 48) The voice is imprisoned in a complicated bureaucracy of networks and gates. Articulation is a set of strangulations; consonants strangle voices. They squeeze them (Serres, 2007, p. 189).
Statues and gate to bridge-enclosure to opening-hingejoint flexing to become a drawbridge-not pulling up the drawbridge . . . (Alan) a suspension bridge launches a passage from one bank to the opposite, from one country to the foreign, from one language to another . . . (Serres, 2015, p. 49) A statute of experience is Cartesian logic. Is this the I of which Ken Gale speaks? Perhaps, but is it the I inside -inter-or the I in between-intra that's important. Why can it not be both simultaneously? Changing inside into outside and outside into inside at the same time (see Gale, 2017) . . . marked by a boundary stone-a tombstone to interdisciplinarity-two roads-boundary stone (gravestone of experience 8 ) marks the crossing the way-why not take both roads simultaneously or create a third (many roads) and walk all three (see China bridge 9 ) . . . bridges . . . utilitarian pathways to gentle collisions . .

Need to integrate this (the poem by Serres below) Ellabut love the shapes and bridging not blasting . . . (Alan)
I put the above comment in the margins of a draft of this article that I needed to integrate the next image more fullybut why-it is just there, it is beautiful, the bridge the shape . . . so in the words of the Beatles can we not just "Let it be?" Ella though reminds me that bridges are not just pathways. As she said, they knot together collisions. In this sense they have a beginning but no end. Bridges are dead, in engineering terms, they are designed to carry dead loads, but they also live carrying 'live loads'-people. They also deal with "dynamic loads" as they work with and against nature. In some countries people put small locks on bridges to symbolize love but people also use bridges to end life.

The bridge becomes a metaphor for life, of life-death, life and dynamism existing simultaneously.
Dead statues mark the crossroads. This "Cartesian mediation eliminates, expels banishes everything" (Serres, 2007, p. xvi). Here, then, at the space of the crossroads; place "is strewn with simple arrows pointing only in one direction" (Serres, 2007, p. 27). At the crossroads each of us carries our shadow, an associated ignorance, the brilliance of our knowledge but we must "pass through these absent unnoticed connections" (Serres, 2015, p. 13). But it is, or is it, the hardness of experience that "holds up" a new space-for there is no "softness without the hardness" (Serres, 2015, p. 35)? We have to explore the paths not yet explored and knot these experiences together into a new whole. A whole that we do not yet, nor may ever really, understand (Serres, 2015). As we pass through this space, we must invent new places (Serres, 2015). The crossroad presents choices-it is the location of a potential intertwangle (note a g but no "gerr"-it has to be gentle collision, we must "fold its edges in gold paper"). With the intertwangle, the space becomes metaphysical/ philosophical/ physical. You can walk both roads-all roads. At the crossroads, the statute blindly points the way. One way, one road, a dead end foreclosed by a law and enclosed by a narrow and narrowing gate. 10 A gate whose enclosing action ensures rarity is made even rarer as it serves only to produce reproduction (Serres, 2007). The gate here encloses a threshold and forecloses a law. Pass through the gate into the next enclosure, put down roots, make there here (see Serres, 2015). The gate counterbalances the laws as they "each cancel each other out as on the flat beam of a balance" (Serres, 2015, p. 47). The new space becomes the old, the law counterbalances and the gate replicates itself again and again Ad nauseam. This destiny follows a path defined by a death.
Heather pushes this thinking about the crossroads further: Reading The gate here reforms itself moving from the horizontal tombstone position to make a bridge-a drawbridge-a funnel-an opening. What was once a potential hard enclosure is not foreclosed but presents a possibility of an opening a hard end-point into a softer bridge that suspends itself over the two/three/all roads-making both/all choices possible. To corrupt the words of Serres (2007, p. xviii) the intertwangle is river "like. It is forking, branching, slewing, slowing, rolling back on itself . . . a complex volume that folds over on itself, and in the process does not merely transform" dialogue, but itself gathers up and releases dialogue. The intertwangle has formed an opening at the crossroad-but it is the I, the me, and the we that must walk though . . .
The hinge enacts a recognition that the trace, or rather tracing, differing and articulating, is performative: to begin is to open; to open is to inaugurate; and to inaugurate is to create (again, a new). (Protevi, 2005, p. ix) The hinge must be broken, it must be reformed a new. I must become we-the one must become the many-the inside must become the outside inside as the insider outsider forms a new space of places.
Siding Two-The Jacket, a Scarf, and 30-Degree Heat 11 We arrive and scurry to the main hall of the Illinois Union-we must register, get to the keynote-get our conference bag-the amazing bags that mark people out-and out people as members of the Congress on bus, train, and airplane. An instantly recognized symbol of a multiple of historical moments. Key note speeches-haste-stress-must get moving. Then, one of the group spots Norman, I had not seen him, he was sat perched on a chair, stick by side and smile on face. A tension comes to the group (Alan) "the plate is ready to plummet-we bob and wait" a gentle collision imminent . . . Ian's story-a journey not taken Ian, our professor, was meant to be leading the party to the conference-it was though not to be. As we sat in Urbana, Ian walked through the streets of Liverpool and looked at an exhibition which represented 50 years of the Beatles album-Sergeant Peppers Lonely Hearts Club band . . .

I wanted to be Urbane in Urbana,
In hand a glass of Champaign. . .

Please excuse my Present-Absence (And this thing that the doggerel brought in).(Ian)
The journey continues with revelations . . . While for all the scarf held importance and for us "standing to attention," perhaps corporate responsibility corralled our responses. For others, it was the jacket, reaching out and Liverpool that dominated. This historical crossroad moment then had many paths, and while one of the performers seemed to travel many of these paths, some perhaps only saw a path marked by a boundary stone of corporate responsibility.

Siding Three-"Meet Me By the Fish Tank"
Paul's journey continues-at a distance but our paths are converging now-ever closer. . .

Conclusions: Home and Home Comings
For Serres (2007, xiii) conclusions should not be too "wellvarnished," life it seems, should be experimental and not analytical "not cumulative and aggregative but discursive; not linear but meandering, doubling back on itself to remind itself of stones left unturned." The intertwangle and the journey it facilitates, we believe, allows space and place for such meanderings and doubling back. The intertwangle attempts to provide a "new language" of an "emergent epistemology." An epistemology "expressed in words, concepts, and spaces between narratives and theories" (Stronach, 2010, p. 189). Like Stronach, we believe, "these new ways of making sense have to be performed rather than represented" (Stronach, 2010, p. 189 The concept of the intertwangle provides an answer (of sorts) to my dilemma. I do not think it is about trying to step in someone else's shoes and try to find your way into their viewpoints. Rather, richer ground can be found when thinking about how your views jangle, twingle and twangle with the views of others. Trying to see the world from another's perspective is imitative. It's a shot in the right direction but a bull's-eye will never be achieved. Instead, by thinking about our own experiences and viewpoints as moving alongside, under, over and, at times, in collisions with the views of others, we stop trying to own the positions of others. We move toward an appreciation of the ways in which our experiences, memories, and reflections sometimes sit aside, sometimes bounce off and sometimes intercept those of other peoples.
A statue apparently cannot move, it cannot speak, it cannot "open its eyes, nod, or call out, cannot tell a story, dance or do work." It stands and points the way. Through the intertwangle though the statue's "solidity and repose" is banished. The statue becomes animated, it steps down from its pedestal, its stillness and silence transgressed, abandoned . . . broke, it enters the sphere of "exchange and intention" and by doing so diminishes (Goss, 1992, p. xi).
"These things cannot happen: a statue cannot move or speak; . . . Or run away, banishing its solidity and repose . . . What crisis does the animation of the unmoving statue thereby entail, what is lost or gained [?]" (Goss, 1992, p

Declaration of Conflicting Interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. where P A and P B are the momenta of any two particles (labeled as A and B for convenience) before a collision, ′ P A and ′ P B are the momenta after the collision, " g A = P P P P is the magnitude of the relative momenta (see relative velocity for more on this concept), and I(g, Ω) is the differential cross-section of the collision, in which the relative momenta of the colliding particles turns through an angle θ into the element of the solid angle dΩ, due to the collision. 6. The clineman marks an atoms deviation from a path this movement from its stable pathway and the consequent collision is said to produce new formulations "the tiny swerve of atoms plays its part. At unanticipated times and places." (See Mc Caffery, 2012, p. 169) 7. I struggled to define the intertwangle. I am grateful, therefore, to Professor Ian Stronach who directed me to Chapter 8 of his book Globalizing Education, Educating the Local. How method made us mad. London: Routledge (2010). The chapter on word crashes says so much more than I can in this space about meaning making, fabricating concepts and about how words never seem totally adequate. 8. For an intertwangle, I do not argue that we should forget experience but rather take it to mean as Said (2003) accountsexperience brings us to a space-here it is the space of the intertwangle. 9. "China's lucky knot bridge." It's effectively three bridges woven into one, which meant it had to ensure all three forms worked together as a single structure. See: https://www.wired.com/2017/01/ chinas-sinuous-lucky-knot-bridge-no-beginning-no-end/ 10. See Serres (2007, p. 153) for further explanation of the narrowing gate. 11. We wait eagerly for the conference key notes. 12. It was 50 years ago not today that St. Pepper taught his band to play. The exhibition of "street art" in Liverpool was a celebration of the Beatles album "St. Pepper's Lonely Heart Club Band" 50 years on from its conception.