Time has a way of slipping past unnoticed. A month ends, a season turns, and only later does one realise how much has already moved through the body, the mind, the work. Musings begins from that unease: the recognition that contemporary life accelerates faster than reflection, and that attention must be actively reclaimed.
This space exists to slow time down. Not to halt it, but to thicken it—to linger over fragments, traces, questions, images, ideas before they dissolve into the next thing. Musings is a practice of staying with experience long enough for it to become intelligible.
Philosophically, this position is neither incidental nor decorative. From Socratic self-examination to Michel Foucault’s work on care of the self, reflection has been understood as ethical practice: a way of inhabiting one’s life deliberately rather than passively. More recent phenomenological work—such as Sara Ahmed’s writing on orientation and misfitting—has further shown how bodies and minds that do not align with dominant norms experience the world differently, and therefore require different modes of attention. To reflect, in this context, is to take responsibility for experience not by abstracting from it, but by remaining close to it.
Musings gathers three modes of reflective practice—blog, scrapbook, and newsletter—each operating in a different register, yet emerging from the same underlying sensibility.
The blog functions as a site of intellectual experimentation. Ideas appear here in their provisional, unstable forms: conceptual sketches, theoretical intuitions, questions not yet disciplined into argument. Many later re-emerge in academic articles, lectures, or books. Making this process visible is a methodological choice aligned with autiethnography: writing of the autistic Self on the autistic Self. Here, lived experience is treated as a primary site of knowledge production—critically examined and theoretically engaged.
Autiethnography is, in this sense, a misfit methodology. Historically, autoethnographic practices have been taken up by those whose bodies, minds, and temporalities do not sit comfortably within dominant academic norms: queer scholars, racialised thinkers, disabled and neurodivergent researchers. It emerges where the classical subject–object division of knowledge breaks down. Rather than claiming neutrality, it acknowledges that thinking is always embodied, positioned, and shaped by cognitive architecture.
The scrapbooks operate through a different logic, but no less rigorously. They are material, visual reflections: collages, fragments, layered images assembled by hand. This is thinking through making. For minds that misfit dominant modes of knowledge production—fast, linear, disembodied, neurotypical—reflection through material practice offers a way of thinking that honours rather than overrides one’s own cognitive rhythms. Cognitive science and neuroscience increasingly recognise that meaning-making is not confined to linear language. Associative, spatial, and sensory forms of reflection can stabilise memory, regulate affect, and surface insight where text alone remains insufficient.
The newsletters extend these practices into a shared temporal rhythm. Monthly scrapbook pages (also as videos accompanied by music), invite others to pause and witness a life unfolding not as optimisation or performance, but as process. This is not confession nor instruction. It is an invitation to resonance: a recognition that other ways of attending, documenting, and reflecting are possible—and necessary.
Musings emerges from a misfit sensibility: an awareness that dominant forms of academic production often exclude the very minds and temporalities they claim to study. It therefore treats slowness, associative thinking, and material engagement not as deficits to be accommodated, but as epistemic strengths. Autiethnography becomes, in this context, both method and ethics: a way of producing knowledge that does not require the erasure of the self that produces it.
This is not an archive of conclusions.
It is a working surface.
Return to it slowly.