This article addresses the question of the coherence of enactivism as a research perspective by making a case study of enactivism in mathematics education research. Main theoretical directions in mathematics education are reviewed and the history of adoption of concepts from enactivism is described. It is concluded that enactivism offers a ‘grand theory’ that can be brought to bear on most of the phenomena of interest in mathematics education research, and so it provides a sufficient theoretical framework. It has particular (...) strength in describing interactions between cognitive systems, including human beings, human conversations and larger human social systems. Some apparent incoherencies of enactivism in mathematics education and in other fields come from the adoption of parts of enactivism that are then grafted onto incompatible theories. However, another significant source of incoherence is the inadequacy of Maturana’s definition of a social system and the lack of a generally agreed upon alternative. (shrink)

This article is concerned with the downsides of using the language of professionalism in educational discourse. It suggests that the language of professionalization can be a powerful rhetorical device for promoting welcome and necessary changes in the field of teaching but that, in doing so, it can unintentionally misrepresent the work that teachers do. Taking as a theoretical framework Lakoff and Johnson's metaphor theory, the article argues that ‘teacher as professional’ should be seen as a metaphor of teaching on par (...) with other metaphors familiar from the history of educational thought. What metaphors of teaching have in common, the article advances, is that they systematically highlight certain aspects of teaching while hiding others. The significance of this conclusion is twofold. Appreciating the limits of the ‘teacher as professional’ metaphor provides guidance about how to use more effectively ‘professionalism’ as a normative standard for promoting change in teaching and teacher education. Second, appreciating the metaphorical character of ‘teacher as professional’ has heuristic value in that it offers a novel explanation for the controversial trend towards conceptualising teaching in narrowly instructional terms. (shrink)

While complexity science is gaining interest among educational theorists, its constructs do not speak to educational responsibility or related core issues in education of power and ethics. Yet certain themes of complexity, as taken up in educational theory, can help unsettle the more controlling and problematic discourses of educational responsibility such as the potential to limit learning and subjectivity or to prescribe social justice. The purpose of this article is to critically examine complexity science against notions of responsibility in terms (...) of implications for education. First, themes of complexity science prominent in contemporary educational writing are explained. Then dilemmas of responsibility in complexity are explored, such as what forms and meanings responsibility can have in a ‘complexified’ perspective of education, how care for others is mobilised, and how desire can be understood. Analyses of ethical action grounded in complexity science are then examined, as well as theories of the ethical subject and participatory responsibility that are congruent with certain tenets of a complexity ontology. Finally, the possibility of an educational vision of responsibility animated by complexity theories is considered, drawing from related writings of Bai, Biesta, Derrida, Levinas and Varela. (shrink)

Recess is often a topic overlooked in pedagogical theory due to its presumed simplicity. The essence of recess connects with play as a physical counterpart to a well-rounded education. In this article we explore the relationship play has with recess and well-being and explore its pragmatikos (systematic usefulness) as regards schooling in lieu of deep ecological frameworks of systems (wholism) theory and systemic, nonlinear dynamics. We argue that recess in its current conceptualisation—in contradistinction to work or study—is a counterfeit to (...) metaphysical play based on the writings of Ananda K. Coomaraswamy who sheds light on its spiritual premise. By bringing to the forefront metaphysical Ideas of play we encounter similitudes between the Platonic doctrine of ēdūcere and anamnesis with Buddhist phenomenology, especially regarding the practice of Mindfulness (sati); both extol a “recollection” as opposed to a “memorisation” which arguably occupies much of Westernised curriculum. Finally, in traditional, premodern education, emphasis was placed on Spirit and heartfelt intuition, a remembrance of who we are, our Buddha-nature or Christhood, not on cerebral ratiocination whose mental operation, according to Plato, was tenebrous and illusory. Our aspiration is not an education that includes mindfulness, rather, a mindfulness-based education. (shrink)

In cultivating a Western inclination toward Eastern wisdom, it is important to seek the foundations that sustain traditional practices toward such end. In a secularised and modern world view, the tendency has been to extract and abstract foundational practices such as mindfulness meditation and contemplation within an objectivist or scientistic prejudice. While leading to interesting results, it cannot ascertain a wisdom that is quantified and decontextualised. In response, contextual effort in postmodern pedagogical literature—while well placed—is often marred with confusions concerning (...) Eastern and metaphysical foundations. As a result, one is led away from the very wisdom being qualified; furthermore, conceptual and theoretical paradoxes arise and consequently elude those that formulate them. Thus, in feeling secure in response to a particular ‘yáng’ world view of modernity, many postmodern criticisms suffer an exclusively ‘yīn’ character. For us, imbalance in any direction forfeits the path Eastern education approaches wisdom. In our conceptual analysis, we contextualise that modernity was never too yáng, but too yáng-in-yīn. Therefore, what is missing in pedagogical theory is not the yīn element, as presumed by postmodern critique, but the yáng element, in continual balance with the yīn, and vice versa. (shrink)

This study examines the piano teaching methodologies used to train final-year undergraduate performance students at four tertiary institutions in Hong Kong. As there is a hierarchical relationship among the philosophies, principles, and methodologies of teaching, this study discusses two chief areas of philosophy, five principles, and six aspects of teaching methodologies that were identified in the literature as being important in the teaching of piano performance. The philosophies include both philosophical ideas and philosophies that are derived from practical experience. The (...) philosophical ideas investigated include rationalism, empiricism, and pragmatism, and the philosophies derived from practical experience cover the issues of inculcating in students an abiding enjoyment and love of music; acknowledgement of the place of aesthetic education in the teaching of piano; recognition of the teacher’s and performer’s roles in transmitting to others musical knowledge, personal insights, and a significant expression of culture; ideally, the need for pianists to be well-balanced intellectually and emotionally and not narrowly focused; the importance of instilling in students a sense of humanity that goes beyond their role as a mere pianist and, ideally, gives them a world perspective. The five principles identified relating to the teaching of piano performance majors include: the need to nurture in students an ability to express emotions and ideas; the importance of pianists producing a considered and appropriate tonal quality; the importance of developing the imagination and nurturing creativity; recognizing the need for encouragement and stimulation in teaching; and committing to quality teaching. These ideas provide the foundation for the discussion of the methodologies of teaching piano performance, which is divided into the six aspects of technique, style, memorization, practicing, acute listening skills (or extending aural ability), and devising solutions to stage fright. The information in this research was collected from the four tertiary institutions in Hong Kong that offer a Bachelor degree in music. The participants included the heads of department, the teachers of final-year undergraduate piano performance students, and undergraduate students of piano. Case studies of the ten teachers’ are presented that include their philosophies, their principles, and the teaching methodologies that they used to teach technique, style, memorization, practice, and the development of aural ability, and to solve the problem of stage fright. The data from the heads of department, teachers, and students were analyzed, and the findings from this analysis are presented. Models of philosophies, principles, and methodologies of piano teaching are proposed, and recommendations are offered for teachers, students, and institutions to improve the quality of piano performance teaching. (shrink)