In this article, I explore my own classroom practices as a teacher of a university course on curriculum in order to investigate the potential emancipatory significance of a Rancièrean conversation-oriented curriculum. To provide a lived account of how emancipatory education with the premise of equality can be embraced, albeit not without challenges, in actual classroom practices, I focus on my most unsuccessful teaching experience—one in which I was routinely confronted by unusually prolonged periods of silence from my students. I first (...) explore how I responded to the challenges which emerged from my commitment to positioning myself and my students as intellectual equals. Then, I attempt to articulate the emancipatory significances of inviting my students to aesthetically attend to the curricular materials, class conversations, and the silence itself. I also reveal how a Rancièrean reading of my practice exposed my own deep ties to an institutionalized distribution of time and helped me to re-imagine the meanings of success and failure in an emancipatory education. (shrink)

Aesthetics and social cognition are two disciplines rarely merged, despite the penetration of artworks into social, moral, and political concerns. In particular, participatory artworks involve direct social interaction and perception, and are more often than not motivated by, and aim towards, ethico-political ends. In the following, I fuse considerations aesthetic with considerations intersubjective, arguing that participatory artworks engage and exploit empathy’s biased character towards a recalibration of our social relationships, namely inclusion and exclusion. Although critics of empathy suggest that its (...) biased, manipulable, and narrow characteristics are detrimental to its moral promise, I argue that participatory artworks are successful intervention methods just insofar as they use these characteristics for their ethico-political gain. This is stimulated by their facilitation of affective, primary intersubjectivity, something I argue is unique to participatory art. After detailing these operations, I suggest that works that seek to address exclusion, rather than those that facilitate inclusion, have a greater potency in addressing and recalibrating empathy, in part owing to their provocation of empathy-related emotions and forms of fellow-feeling such as shame and compassion. (shrink)