Michael Peters, Sonja Arndt & Marek TesarThis is a collective writing experiment of PESA members, including its Executive Committee, asking questions of the Philosophy of Education in a New Key. Co...

The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity, together with but distinct from its political potentiality as a collective mediality. Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

This paper is an experiment in collective writing conducted in Autumn 2019 at the Faculty of Education at Beijing Normal University. The experiment involves 12 international masters' students readi...

The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity (as writing that displaces the voice), together with but distinct from its political potentiality as a collective mediality (as a ‘means without end’). Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

Video ethics in educational research involving children is a recent topic that has arisen since the increase in the use of visual mediums in research especially with the development of new and ubiquitous internet technologies and social media. This paper emerged as an expressed concerned by a group of scholars associated with the new Video Journal of Education and Pedagogy that was established in 2016. The paper is the result of a collective writing process over a period of a few (...) months that discusses visual studies in education and visual ethics in relation to qualitative research in education, and as it applies to children. The article also uses the newly established convention of open review, publishing the results with the paper. (shrink)

Infantologies is a collective writing project designed to express and summarise important ideas, approaches and forms of advocacy in a short and condensed method, in order to present a network of d...

This special issue aims to explore what is educational in the seemingly humble gesture of making notes: not only how and why the practice of note-taking is educative in and of itself, but also what it says about education as such. The contributions to the issue each highlight different aspects of note-making and approach it differently, but all assume that note-making is an educational practice that merits philosophical study. Interestingly, they mostly focus on note-making as a non-digital practice, perhaps because (...) most were written prior to the great digitisation ushered in by educational institutions’ responses to the COVID-19 pandemic. Let us first address how we see the different aspects of note-making highlighted by the contributions to the issue. (shrink)

With the tertiary education mantra of creativity, critical thinking and innovation in mind, we consider the critical-creativity of error. Taking the university to model social orthography, or ‘correct writing’, according to the norms of disciplines, we consider the role of error in the classroom. Looked at another way, error questions the norms governing norms and the instability of disciplinary grounds. Beyond correction, error involves a mis-taking, or taking another way. Tracing the origin of error we are able to reconstruct the (...) social world in terms of which it is conceivable for a mistake of any kind to have been made. The university, we find, withholds worlds which are not new but are sources of creativity, and constitutes a pluriversity or poly-versity. (shrink)

Sonja Arndt, Michael Peters, Marek Tesar Introspection is a key concept in epistemology, since introspective knowledge is often thought to be particularly secure, maybe even immune to skeptical dou...

The university today finds itself in a global state of emergency, at once financial, military and ecological. Teaching must assume this emergency as premise and responsibility: it must consider the grounds of the classroom, both figurative and literal, and generate emergent lines of inquiry that address the pressing global and local situation. For us, that means that teaching must take the university’s grounds of supposedly universal knowledge to be constitutively unstable and to require a reflexive teaching method that puts in (...) question disciplinary fields and discursive modalities of knowledge. And it must take in the physical grounds of the university too—because local space is increasingly articulated by technocapital interests that are fully implicated in this global state of emergency. Thus, we do not seek stability amidst such turbulence, but rather a seismotic overturning of the grounds of the university or, rather, a returning to its ground, through the deepened sense of purpose and place that ‘teaching the emergency’ provides. (shrink)

This article considers the ‘creative education’ of influential Aotearoa/new Zealand art educator Elwyn Richardson, which is based on what he calls the ‘discovery method’: the ‘concentrated study of material from [students’] own surroundings’. Through a game that his students play with tyres, we explore the role that tools play in Richardson’s classroom and in the imaginary ‘worlding’ of his students’ play. By taking the ‘early world’ of the children’s development to be a product of the tools through which they describe (...) it, we reveal Richardson’s educative process to be essentially technological. His idea of the whole child who emerges through a process of experience and observation—of ‘emotion recollected in tranquillity’, in the well-known phrase of Wordsworth cited by Richardson—conflates the nature of the child and nature of the ‘natural’ world. By this act of ‘natural settlement’ not untypical of settler narratives in Aotearoa/new Zealand, the child’s—and, by implication, other settlers’—relation to the world of nature is naturalized. Instead, we would argue that the child’s relation to nature is altogether unnatural: it is imprinted by the technological means through which she explores the world and makes it her own—and by which she is made over. The ‘tyre-child’ is no child of nature, but a child of technology, for whom creative errors—acts of ‘mis-taking’ like the ones Richardson’s children make in playing with tyres—reveal an imaginary capacity at once theoretical and unsettling. (shrink)