Philosophy for Children arose in the 1970s in the US as an educational programme. This programme, initiated by Matthew Lipman, was devoted to exploring the relationship between the notions ‘philosophy’ and ‘childhood’, with the implicit practical goal of establishing philosophy as a full-fledged ‘content area’ in public schools. Over 40 years, the programme has spread worldwide, and the theory and practice of doing philosophy for or with children and young people appears to be of growing interest in the field of (...) education and, by implication, in society as a whole. This article focuses on this growing interest by offering a survey of the main arguments and ideas that have given shape to the idea of philosophy for children in recent decades. This aim is twofold: first, to make more familiar an actual educational practice that is not at all well known in the field of academic philosophy itself; and second, to invite a re-thinking of the relationship between philosophy and the child ‘after Lipman’. (shrink)

In this paper I want to analyse the meaning of education for democracy and thinking as this is generally understood by Philosophy for Children. Although we may be inclined to applaud Philosophy for Children's emphasis on children, critical thinking, autonomy and dialogue, there is reason for scepticism too. Since we are expected as a matter of course to subscribe to the basic assumptions of Philosophy for Children, we seem to become tied, as it were, to the whole package, without reservation. (...) Following ideas of Hannah Arendt, I draw attention to the instrumentalised nature of Philosophy for Children and the loss of originality that this instrumentalisation means. This does not mean that I wish to abandon Philosophy for Children. The point is rather that I want to examine whether or not another kind of philosophy for children is possible. (shrink)

The last few decades have seen a steady growth of interest in doing philosophy with children and young people in educational settings. Philosophy with children is increasingly offered as a solution to the problems associated with what is seen by many as a disoriented, cynical, indifferent and individualistic society. It represents for its practitioners a powerful vehicle that teaches children and young people how to think about particular problems in society through the use of interpretive schemes and procedures especially designed (...) for this. It typically conceives of truth-telling as the work of dialogical reasoning, which is understood in turn as leading to increasing awareness of mental and methodological processes. This article starts from another point of view. What is at stake, I shall argue, is not so much the question of how to think for oneself in an appropriate way. Rather, in line with Michel Foucault, I want to identify philosophy as a practice oriented by the care of the self and of transformation of the self by the self. From this angle, philosophy with children will not be understood as something that orients us towards valid knowledge claims, but as an act of becoming present in the present. This way of conceiving of philosophy with children will be explored in the context of a concrete philosophical experiment with children that I planned and carried out in Cambodia. (shrink)

As a response to Le Fils, a film directed by the Dardenne brothers (), we explore the idea of speaking as an invitation and juxtapose it against ideas of speaking as a transactional, calculative, calibrated, activity. Speaking tends to be understood as a relatively straightforward matter: as a means of communication structured by such values as the reciprocal balancing of rights and obligations, of clear communication of information, of the gaining of insight into what is happening. Speaking, then, is a (...) means by which we explain, prove or pass judgement on something. Understood this way, it is easily associated with ideas of empowerment or of the mediation of information: one directs or commits oneself to a (shared) orientation—for example to what Jürgen Habermas refers to as ‘communicative reason’. It presupposes a particular attitude of the subject; speaking that addresses the listener and the speaker herself in the name of an orientation or particular expertise to which access is claimed. In this article, by contrast, we would like to explore a different avenue of thought whereby speaking appears rather as an abandoning or exposing of oneself. It is less an activity than a passivity or passion, through which one becomes present in the present, which is at once also a kind of invitation. In exploring this form of speaking, we take up some ideas of Martin Buber. Our discussion relates speaking to being inspiring and being inspired, revealing in the process the way that to be inspiring is at the same time to be inspired. Speaking as invitation, we conclude, is what education is about. (shrink)

Philosophy for Children in Transition presents a diverse collection of perspectives on the worldwide educational movement of philosophy for children. Educators and philosophers establish the relationship between philosophy and the child, and clarify the significance of that relationship for teaching and learning today. The papers present a diverse range of perspectives, problems and tentative prospects concerning the theory and practice of Philosophy for Children today The collection familiarises an actual educational practice that is steadily gaining importance in the field of (...) academic philosophy Opens up discussion on the notion of the relationship between philosophy and the child. (shrink)

In this article we explore the educational potential of cinema. To do this we first analyse how the American critical thinker Henry Giroux tries to give body to an educational theory in relation to cinema. His ‘film pedagogy’ is described as developing a critical response of the learner in relation to the public sphere of film. Giroux’s approach, however, seems to forget rather than explore the potential that is specific to the medium. Secondly, the article analyses Walter Benjamin’s (1936, Illuminations, (...) London, Pimlico) essay ‘The work of art in the age of mechanical reproduction’, because here we find not a different educational response to cinema, but one of the first studies on cinema that describes its ontological nature and the potential of moving images for thought. Finally, the article discusses the cinema philosophy of Gilles Deleuze, who, in contrast to Giroux, does not construct a Cartesian framework around cinema. Rather, he recognizes and explores cinema’s potential for thoughts like Benjamin did. In this way, Deleuze reverses Giroux’s question of how education should respond to cinema. A pedagogical discussion hereby comes to the fore that does not ask the question of what methodology should be used in education to think critically about cinema, but what the implications are of the nature of cinema for thought and for education. (shrink)

This article arises from the thoughts of Hannah Arendt, and more especially from her idea that the essence of education is the renewal of the world. That idea forms the backdrop to a consideration of the current interest in education as the construction of one's own life. I argue that the will to construct one's own life is not a natural, biological given, but a product of a 'biopolitical machine'. In the first part of the article I challenge the contemporary (...) discourse of self-empowerment and expose the way that the will to construct one's own life, in its current manifestation, is an effect and an instrument of a (strategic) configuration that includes the construction of one's own life as a matter of public concern. Ironically, the foregrounding of 'public concern' in this way undermines a more meaningful realisation of the public realm. I see this, however, not primarily as a problem, but as an invitation to think again. In the second part I argue that what the 'biopolitical machine' has shown is precisely that thinking of childhood in terms of a becoming and a 'not yet' does not capture the essence of human being. Instead it should be conceived as a singular, historical experience emerging within a particular historical context. What this reveals is an opening onto a possibility of acting and thinking differently. I conclude with an alternative idea of education, one that is inspired by Arendt. However, this is not intended as a utopian turn, but rather as a means of exposing a dimension of education that has remained silenced or even largely excluded: a dimension that is an invitation to think and to put our thoughts at stake, which is something altogether different from utopia. (shrink)

This paper refers to a project that we as an art school carried out together with the Flemish organisation VVOB in Zambia. The main goal of the project was to equip primary school teachers with the necessary knowledge and infrastructure to deliver basic ‘education for all.’ The paper challenges the implicit instrumentalization of the arts in that approach, but also brings back to the forefront the notion of art as a practice that ‘makes sense together.’ Through cabinet of curiosity practices (...) such as observing, noting, collecting, mapping, exposing and gathering, we explored how sharing emergent relational structures could be a starting point and even the essence of a pedagogical practice that thinks with and before the world, and approaches education for all as a study praxis rather than an end goal. The argument is built in company with authors such as Gert Biesta, Jean Luc Nancy and Tim Ingold. (shrink)

In accordance with Progressivism, Matthew Lipman, introduced an educational model for renewal and change by means of the child. With his Philosophy for Children programme he wished to offer an alternative for the intellectualistic oriented education which silenced children. The answer to the search for freedom and change, Lipman finds in the symbioses between ‘Philosophy’ and ‘Children’. Philosophy expressed in critical thinking and communication, was the basis to emancipate the child from the oppression of the adult and to cause change. (...) According to Lipman the main purpose of philosophy is to free every individual from determination. This plea is being elaborated by dialogue. The main issue of our paper concerns the question whether Lipman’s alternative ‘Philosophy for Children’ can fulfil the promise of change and freedom. To answer this question we will investigate thoroughly where dialogue and change in Philosophy for Children stand for. Finally we will propose another perspective of dialogue. A dialogue stressed on listening. Listening to how the world appears to us and how we appear to ourselves. (shrink)

Philosophy seems to have gained solid ground in the hearts and minds of educational researchers and practitioners. We critique Philosophy for Children as an experimental programme aimed at improving children’s thinking capacity, by questioning the concept of critique itself. What does it mean when an institutional framework like the school claims to question its own framework, and what is the consequence of such a claim for thinking, in education, philosophy and the child? Implications for the concept of critical thinking follow.

London/New York, Continuum, 2007. Pp. 196. Hbk. £70.00.

Nowadays there is a renewed interest in philosophy as art-of-living. Several prominent authors have pointed out the return of the notion of the good life in philosophy, particularly understood as a form of normative ethics. Questions such as: how should I live have been taken up as a resistance against the dominances of a neo-liberal discourse in all areas of life. This paper is concerned with this renewed interest in philosophy as art-of-living and the form of education that supports this. (...) The main idea is that the commitment from which we live is a subject of change. This way, art-of-living comprises the possibility and the effort to lead on’s life in a reflective way, and not to let it simply go by. Historically this has been connected to the process of becoming educated. In this paper I will take a closer look at this renewed interest in philosophy as the art-of-living by contrasting two different readings of philosophy as the art-of-living. One that is inspired by Oscar Brenifier and one that is inspired by the late Foucault. (shrink)

In 1865, the Brussels educational reformer Pierre Temples advocated to take drawing as the cornerstone of education. He criticized that education was modelled on conventions and grammatical rules in order to learn to read and write, this way ignoring the potential of drawing to create new concepts. This paper is also concerned with the significance of drawing in the realm of education. However, not to elaborate on its added value for education, but to discuss the mode of thinking that it (...) seeks to disclose. The paper starts with a re-reading of two stories: Pliny the Elder's image of the origin of drawing and Viktor Lowenfeld’s artistic developmental theory. This brings us to an understanding of the significance of drawing not as a pure sensory experience, nor as a cognitive one, but as a new gesture that marks the visual as visual, to make it an object of thought. Unlike Temples, this contribution is not against grammar, but understands the act of drawing as a form of grammatisation in itself: i.e. a particular response to an event, which simultaneously enables us to visualize what confronts us. Hence, an ability to imagine and create new relationships with the world. (shrink)