Scholarship in postqualitative research has long examined the constructs of orientation and experimentation. How do we come to know and name experience? How do we value its matter as a form of mattering. Combining perspectives from phenomenology, feminist new materialisms, and sound studies, this article traces the intra-active encounters of the Museum of Contemporary Art–Detroit’s (MoCAD) performance of John Cage’s “How to Get Started.” Reading postphenomenological inquiry as improvisation, the article underscores that phenomenological ontologies are always already a be(com)ing, and that qualitative research more broadly is inherently an act of being “in-resonance-with.”
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