Through writings of Simone Weil and Michel Foucault, the article explores the notion of education as the formation of the attending and attentive subjects. Both writers have in different ways acknowledged the important relation between attention and the self. While Weil develops a spiritual form of attention, an attention which can be trained in any form of serious studying, aiming at dissolving the illusion of the self, Foucault understands attention as an important aspect in the Greek notion of the care (...) of the self, which was developed outside of and due to the limitations of pedagogy aiming at a self-attentive self-formation. Both non-egotistic notions of attention address ethical and educational dimensions of human subjectivity. Foucault’s notion is anti-institutional and Weil’s notion is non-formative. As such, both perspectives inform educational thinking and practice by highlighting attention as a crucial aspect of both the active and the contemplative subject. (shrink)

What is the significance of attentiveness in teaching? A spontaneous answer would be that attentiveness is a crucial aspect in the practice of teaching, because if the students do not pay attention...

While the aesthetics of Rancière is a well-explored topic, there has been something missing from the reception of his works, and that is the relation between Rancière’s aesthetics and music. However, in recent years an interest in this relation has resulted in several academic contributions, which is sign enough that there is in fact a musical element in his works. Rancière himself, in response to this reception, has acknowledged as much. Music is a human form of expression that uses the (...) physicality of air to produce vibrations that encounter and resonate with the human body. Musicality is the ability to attend to such vibrations and harness the expectations and surprises that they bring about. In this article, I explore how a musical approach to Rancière’s writings can inform educational philosophy, especially as regards the practice of teaching. Particular attention is paid to his notion of the sensorium as a sensible realm where we experience and encounter difference and otherness, in political events as well as in teaching situations. Attending ethically to these situations is predicated on a certain sensibility that involves certain aesthetic qualities. In this article, I explore this sensibility as a particular educational musicality. Drawing from educational philosophy, the aesthetic theory of Jacques Rancière, and music philosophy, I connect this musicality of teaching to an ability to navigate in an ethical space that comes to life through a material/sensible community of interests formed in teaching practice. I use the term acousmatic experience as an explorative device in an attempt to depict teaching practice as something that can bring about a specific educational sensorium. (shrink)

This article highlights the educational and the aesthetic significance of the subject matter (i.e., “the third thing”) in the relationship between teacher and pupil. This, through a reading of two texts, one written by the 19th century educationist and German philosopher Johann Friedrich Herbart, and one written by the contemporary philosopher and political theorist Jacques Rancière. By emphasizing the third thing between pupil and teacher, the article intends to reimagine both the educative and aesthetic values of those timeless things around (...) us, such as objects of art and education, which give life a meaning beyond our limited socio-cultural desires, interests, concepts, and identities. Teaching, from this “fusion of the horizon” between Herbart and Rancière, is an activity created by the heterogeneity already integral to the “essence” of the subject matter. As such, the article also offers a fusion of the horizon between aesthetics and Didaktik. (shrink)