TSV is currently accepting submissions in the following general areas: Sensemaking, Navigation, Technique, Contemplative Practice, and Ecology and Design.
These themes mark prompts and inspirations, associations and convergences, and threads and boundaries. Your submission may fall within one or more of these categories. Think of these topic areas as enabling constraints, more than literal limitations. We welcome submissions within, beyond, and across these categories.
At the bottom of the page you’ll find our submission form. Please consider these topic areas in addition to the instructions listed alongside the submission window.
The term sensemaking is used in organizational design, phenomenology, and cognitive science. It describes the way people make meaning through their perception of the world, both as subjective agents and as biological systems. Essays exploring sensemaking investigate the practices, sensations, concepts, emotions, intuitions, and inferences that converge in perception, allowing us to make sense of the present moment, either as general accounts of the nature of experience or as phenomenological descriptions of perception. This is what making sense of how we make sense means.
Sensemaking is also a verb. It’s an action undertaken when ambiguity, uncertainty, and confusion prevail. One engages in such navigation when common sense fails, when categories break, when concepts collapse, and when epistemic ruptures emerge. Sensemaking in this second sense is a practice of re-orientation, a re-setting of the compass, and a re-commitment to humility in the face of the unknown. Essays dealing with this type of sensemaking try to understand emerging events in new and unexpected ways, drawing on novel intuitions to navigate the present, which may include speculative or experimental modes of understanding.
Essays by their nature express ideas and perspectives in the medium of words, but TSV is committed to promoting physical, applied, and otherwise tacit modes of knowing. These modes include athletic disciplines and works of craftsmanship and art alike. The word techné refers to this domain of practical ability and training, and is often associated with techniques or principles by which a certain skill is achieved. We have in mind here the insights of engineers, athletes, musicians, martial artists, trainers, painters, coaches, and designers. The essays in this series include general theories of technique and field reports from practitioners at work as they refine their craft.
Contemplative practice essays unite philosophical, religious, and spiritual disciplines under the broader notion of practices of transformation, or ascetic exercises. The word askēsis has many connotations, including training, self-discipline, skilled work, moral preparation, and adornment (in the sense of elaboration through spiritual training). Examples of ascetic practice include contemplative prayer, meditation, fasting, examinations of conscience, dialectics, aesthetics, esotericism, self-inquiry, and visionary experience. TSV welcomes contributions to this series from ascetic practitioners of all kinds, and looks for both historical and theoretical explications of practice, as well as first-person accounts from practitioners about the nature and impact of their practice.
An H5 additional context title
TSV is about understanding the nature of perception and awareness, both as an individual, internal process of sensemaking, and as a collective, external mode of participation. Essays dealing with Ecology and Design draw from environmental psychology, 4EA cognition (enactive, embodied, embedded, extended, and affective cognition), media ecology, architecture and design, complexity sciences, and aesthetics to explore and describe the multi-level loops, technologies, and scaffolds that enhance, diminish, or otherwise influence our senses. Here perception is understood as an activity configured within an extended and dynamic arena that links body and mind, inside and outside, and individual and collective.
SUBMISSION FORM
Your initial submission should include a tentative title, a short description of about 400 words, and your bio or CV. A publishable essay is one that relates directly to general TSV themes, especially as described on the About page.
We publish articles that range from 1000–3500 words in length, typically from experts or scholars in their fields, but we also publish first-person accounts from lay practitioners and adepts alike.
Once your submission is reviewed, we will follow up as soon as we can with further details on how to proceed, including details about style sheets, timelines, and more.
For general queries and information, contact Adam Robbert at adam@thesideview.co
SUBMISSIONS
TSV is currently accepting submissions in the following general areas: Sensemaking, Navigation, Technique, Contemplative Practice, and Ecology and Design.
These themes mark prompts and inspirations, associations and convergences, and threads and boundaries. Your submission may fall within one or more of these categories. Think of these topic areas as enabling constraints, more than literal limitations. We welcome submissions within, beyond, and across these categories.
At the bottom of the page you’ll find our submission form. Please consider these topic areas in addition to the instructions listed alongside the submission window.
The term sensemaking is used in organizational design, phenomenology, and cognitive science. It describes the way people make meaning through their perception of the world, both as subjective agents and as biological systems. Essays exploring sensemaking investigate the practices, sensations, concepts, emotions, intuitions, and inferences that converge in perception, allowing us to make sense of the present moment, either as general accounts of the nature of experience or as phenomenological descriptions of perception. This is what making sense of how we make sense means.
Sensemaking is also a verb. It’s an action undertaken when ambiguity, uncertainty, and confusion prevail. One engages in such navigation when common sense fails, when categories break, when concepts collapse, and when epistemic ruptures emerge. Sensemaking in this second sense is a practice of re-orientation, a re-setting of the compass, and a re-commitment to humility in the face of the unknown. Essays dealing with this type of sensemaking try to understand emerging events in new and unexpected ways, drawing on novel intuitions to navigate the present, which may include speculative or experimental modes of understanding.
Essays by their nature express ideas and perspectives in the medium of words, but TSV is committed to promoting physical, applied, and otherwise tacit modes of knowing. These modes include athletic disciplines and works of craftsmanship and art alike. The word techné refers to this domain of practical ability and training, and is often associated with techniques or principles by which a certain skill is achieved. We have in mind here the insights of engineers, athletes, musicians, martial artists, trainers, painters, coaches, and designers. The essays in this series include general theories of technique and field reports from practitioners at work as they refine their craft.
Contemplative practice essays unite philosophical, religious, and spiritual disciplines under the broader notion of practices of transformation, or ascetic exercises. The word askēsis has many connotations, including training, self-discipline, skilled work, moral preparation, and adornment (in the sense of elaboration through spiritual training). Examples of ascetic practice include contemplative prayer, meditation, fasting, examinations of conscience, dialectics, aesthetics, esotericism, self-inquiry, and visionary experience. TSV welcomes contributions to this series from ascetic practitioners of all kinds, and looks for both historical and theoretical explications of practice, as well as first-person accounts from practitioners about the nature and impact of their practice.
TSV is about understanding the nature of perception and awareness, both as an individual, internal process of sensemaking, and as a collective, external mode of participation. Essays dealing with Ecology and Design draw from environmental psychology, 4EA cognition (enactive, embodied, embedded, extended, and affective cognition), media ecology, architecture and design, complexity sciences, and aesthetics to explore and describe the multi-level loops, technologies, and scaffolds that enhance, diminish, or otherwise influence our senses. Here perception is understood as an activity configured within an extended and dynamic arena that links body and mind, inside and outside, and individual and collective.
SUBMISSION FORM
Your initial submission should include a tentative title, a short description of about 400 words, and your bio or CV. A publishable essay is one that relates directly to general TSV themes, especially as described on the About page.
We publish articles that range from 1000–3500 words in length, typically from experts or scholars in their fields, but we also publish first-person accounts from lay practitioners and adepts alike.
Once your submission is reviewed, we will follow up as soon as we can with further details on how to proceed, including details about style sheets, timelines, and more.
For general queries and information, contact Adam Robbert at adam@thesideview.co