The deep influence of affectivity on learning is now widely acknowledged (Keefer et al., 2018; Sánchez-Álvarez et al., 2021). For instance, it has been shown that affect influences key learning-relevant processes, such as motivation, perception, behavior, and critical thinking (Izard, 2002; Mayer & Salovey, 1997). Evidence also shows that emotion and mood strongly influence attention, which in turn drives learning and memory (Elbertson et al., 2010; Elias et al., 1997). Intersubjective phenomena, such as the degree of affection and respect between (...) child and teacher, also affect the child’s learning processes, academic outcomes, and brain development (Kusché & Greenberg, 2006; Ryan & Patrick, 2001). However, the relevant literature is not paying attention to increasing evidence showing that affective phenomena are rooted in interoceptive and homeostatic self- and co-regulatory processes within and between people’s living bodies (Barrett, 2017; Carvalho & Damasio, 2021; Craig, 2015, 2018; Fotopoulou et al., 2022; Fotopoulou & Tsakiris, 2017; Seth & Friston, 2016). In this theoretical chapter, we explore this connection and its importance for learning. We argue that affective experience plays a fundamental role in learning, and that affective experience is rooted in the homeostatic self-/co-regulation of living bodies. Therefore, the homeostatic self-/co-regulation of living bodies plays a fundamental role in learning. In other words, there is an intra- and interpersonal somatic dimension of learning that demands explicit consideration in educational contexts. In this way, we aim to contribute to an understanding of learning and education that moves away from an individualistic, brain-centered information-processing conception toward one centered on sentient, interdependent living bodies. (shrink)

This chapter presents emotion as a function of brain-body interaction, as a vital part of a multi-tiered phylogenetic set of neural mechanisms, evoked by both instinctive processes and learned appraisal systems, and argues to establish the primacy of emotion in relation to cognition. Primarily based on Damasio's somatic marker hypothesis, but also incorporating elements of Lazarus' appraisal theory, this paper presents a neuropedagogical model of emotion, the somatic appraisal model of affect (SAMA). SAMA identifies quintessential components, facets, and (...) functions of affect necessary to provide a new domain, namely educational neuroscience, with a basis on which to build a dynamic model of affect serving to critique traditional cognitivist-oriented curricula and instruction, and to inform an alternative: neuropedagogy. (shrink)

This chapter presents emotion as a function of brain‐body interaction, as a vital part of a multi‐tiered phylogenetic set of neural mechanisms, evoked by both instinctive processes and learned appraisal systems, and argues to establish the primacy of emotion in relation to cognition. Primarily based on Damasio's somatic marker hypothesis, but also incorporating elements of Lazarus' appraisal theory, this paper presents a neuropedagogical model of emotion, the somatic appraisal model of affect (SAMA). SAMA identifies quintessential components, facets, and (...) functions of affect necessary to provide a new domain, namely educational neuroscience, with a basis on which to build a dynamic model of affect serving to critique traditional cognitivist‐oriented curricula and instruction, and to inform an alternative: neuropedagogy. (shrink)

Therapeutic translations of the microbiome-gut-brain (MGB) axis are reconstructing the educational subject in a manner amenable to Foucauldian analysis. Yet, at the same time, under the sway of MGB research social scientists are taking a biosocial turn that threatens the integrity of Foucault’s historicizing philosophical project. Meeting that challenge head-on, this article argues that the MGB axis augments the neurobiological constitution of the educational subject by means of a dietetic mode of subjectivation. Absent a pedagogical element, there is a hollowness (...) to critical academics’ claims that holobiontic self-conceptions springing from the axis can elicit a resistant subjectivity. Though wild pedagogies might inform a resistant tactics of the self, contemporary self-technologies are – as Foucault has taught us – a pale shadow of the ancient Greek conception of dietetics as an holistic, embodied and ensouled practice. At the intersection between the disciplinary apparatuses of criminology and education, therefore, the MGB-driven biosocial turn unambiguously reinforces the social control function of schooling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somatic Knowledge and Qualitative Reasoning:From Theory to PracticeRichard Siegesmund"Elliot Eisner is a writer to be reckoned with" is how my undergraduate student, Cheyenne, opened her final essay on The Arts and the Creation of Mind. After a semester of using his text in my art education methods class, reckoned seemed an apt word. The dictionary gives the definitions of reckoned as to settle accounts, make calculation, judge, (...) and take into consideration.1 The ideas in The Arts and the Creation of Mind are challenging on multiple levels, and Eisner does not provide any easy answers. There are no pithy how-to-do-it bullet points in the text. The issues he addresses are complex: nonlinguistic meaning, somatic knowledge, qualitative reasoning, the arts as habits of mind that guide experience and inquiry into the world — just to name a few. Nevertheless, in this text he brings these ideas into a format that is accessible to undergraduates entering the profession of teaching and experienced professionals, who wish to reflect on their own practice.The lucidity of Eisner's text can belie the complexity of the issues he addresses. Regrettably, some students only saw the outer shell of the content: the discussion of conceptual approaches to arts education or the delineation of the developmental stages of children's drawing. Yet for these aspects alone, they considered the text to be valuable; however, I was disappointed that they did not go deeper. Some just could not synthesize the big point: that the arts are not simply about mastery of technical skills, but that technical skills are merely a gateway into non-linguistic thinking. Educational objectives that are limited to content and skills are mundane.However, for more thoughtful and reflective students like Cheyenne, who was in her last semester of course work before student teaching in Guadalajara, the book was an inspiration. It provided a more robust conception of arts education that spoke to her feelings that compelled her to be a teacher. She reflected on what she read in The Arts and the Creation of Mind, and saw how an arts educator was more than an activities manager. She discovered she was embarking on a calling that could change minds — and [End Page 80] by changing minds, transform lives. For a young idealist, Eisner articulated her passion to serve. He said what up until that moment she had only felt. She discovered what she had previously sensed — known in her bones — but had not articulated. Eisner was a voice she wanted to take for her own. He provided a vision of the teacher she hoped to be. Indeed, Elliot Eisner is a writer to be reckoned with.Two ideas that my art students want to discuss when they first encounter The Arts and the Creation of Mind are the concepts of somatic knowing and qualitative reasoning. Somatic knowledge is a felt reaction of rightness within an experience. Qualitative reasoning is the ordering of relationships of qualities. Qualitative reasoning produces somatic knowledge. Using my students' questions and classroom discussions as inspiration, I want to explore these ideas for I believe they represent the essence of what is distinctive about learning in the arts. Furthermore, I share Eisner's belief that they provide the foundation on which to make an enduring case for the importance of the arts in education. These ideas reside at the heart of the process of education, which is, as he states, "learning to create ourselves."2It is immensely satisfying as a teacher to see the ah-ha moments in class discussion when students begin to integrate Eisner's ideas into their own experience. It is an even greater satisfaction to work with teachers who find these ideas illuminating for their educational aims and objectives and to see them played out in real classrooms where students flourish. In this essay, I want to try to build on my own experience with these moments to more deeply explore the significance of Eisner's work.To begin, I will briefly revisit the work of John Dewey. I will then discuss how Eisner's previous thinking sets a foundation for The Arts and the Creation of Mind. Finally, on a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somatic Knowledge and Qualitative Reasoning:From Theory to PracticeRichard Siegesmund"Elliot Eisner is a writer to be reckoned with" is how my undergraduate student, Cheyenne, opened her final essay on The Arts and the Creation of Mind. After a semester of using his text in my art education methods class, reckoned seemed an apt word. The dictionary gives the definitions of reckoned as to settle accounts, make calculation, judge, (...) and take into consideration.1 The ideas in The Arts and the Creation of Mind are challenging on multiple levels, and Eisner does not provide any easy answers. There are no pithy how-to-do-it bullet points in the text. The issues he addresses are complex: nonlinguistic meaning, somatic knowledge, qualitative reasoning, the arts as habits of mind that guide experience and inquiry into the world — just to name a few. Nevertheless, in this text he brings these ideas into a format that is accessible to undergraduates entering the profession of teaching and experienced professionals, who wish to reflect on their own practice.The lucidity of Eisner's text can belie the complexity of the issues he addresses. Regrettably, some students only saw the outer shell of the content: the discussion of conceptual approaches to arts education or the delineation of the developmental stages of children's drawing. Yet for these aspects alone, they considered the text to be valuable; however, I was disappointed that they did not go deeper. Some just could not synthesize the big point: that the arts are not simply about mastery of technical skills, but that technical skills are merely a gateway into non-linguistic thinking. Educational objectives that are limited to content and skills are mundane.However, for more thoughtful and reflective students like Cheyenne, who was in her last semester of course work before student teaching in Guadalajara, the book was an inspiration. It provided a more robust conception of arts education that spoke to her feelings that compelled her to be a teacher. She reflected on what she read in The Arts and the Creation of Mind, and saw how an arts educator was more than an activities manager. She discovered she was embarking on a calling that could change minds — and [End Page 80] by changing minds, transform lives. For a young idealist, Eisner articulated her passion to serve. He said what up until that moment she had only felt. She discovered what she had previously sensed — known in her bones — but had not articulated. Eisner was a voice she wanted to take for her own. He provided a vision of the teacher she hoped to be. Indeed, Elliot Eisner is a writer to be reckoned with.Two ideas that my art students want to discuss when they first encounter The Arts and the Creation of Mind are the concepts of somatic knowing and qualitative reasoning. Somatic knowledge is a felt reaction of rightness within an experience. Qualitative reasoning is the ordering of relationships of qualities. Qualitative reasoning produces somatic knowledge. Using my students' questions and classroom discussions as inspiration, I want to explore these ideas for I believe they represent the essence of what is distinctive about learning in the arts. Furthermore, I share Eisner's belief that they provide the foundation on which to make an enduring case for the importance of the arts in education. These ideas reside at the heart of the process of education, which is, as he states, "learning to create ourselves."2It is immensely satisfying as a teacher to see the ah-ha moments in class discussion when students begin to integrate Eisner's ideas into their own experience. It is an even greater satisfaction to work with teachers who find these ideas illuminating for their educational aims and objectives and to see them played out in real classrooms where students flourish. In this essay, I want to try to build on my own experience with these moments to more deeply explore the significance of Eisner's work.To begin, I will briefly revisit the work of John Dewey. I will then discuss how Eisner's previous thinking sets a foundation for The Arts and the Creation of Mind. Finally, on a... (shrink)

This work begins with a brief review – from the _physical education_ movement that began in ancient Greece and is deeply rooted in 19th century Europe, to the _somatics_ movement alive today. The review captures primary historical and conceptual references, relevant to the therapeutic-embodied exploratory work. Then, G. Stanghellini’s mental health care model [ 2 ] is reviewed. This model is considered within reflexive self-awareness and spoken dialogue: the main vehicles in relation with alterity and its consequences in the realm (...) of psychotherapeutic encounter and intervention. This will highlight the individual’s bodily movement and inter-corporeal ‘proto-dialogue’ as a prior realm of therapeutic intervention. Next, a brief consideration of E. Strauss work [ 31 ] is presented. This paper’s hypothesis is that bodily qualitative dynamics highlighted by phenomenology are essential for an effective mental health therapeutic intervention. A ‘seed’ of a framework is proposed in this paper; this seed assesses some phenomenological assets of a positive conception of mental health, for which self-awareness education is key to develop skills such as _kinaesthetic intelligence_ and _attunement_ and to educate healthy persons who can promote edifying social relations and environments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an (...) efficacious means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

This chapter presents emotion as a function of brain‐body interaction, as a vital part of a multi‐tiered phylogenetic set of neural mechanisms, evoked by both instinctive processes and learned appraisal systems, and argues to establish the primacy of emotion in relation to cognition. Primarily based on Damasio's somatic marker hypothesis, but also incorporating elements of Lazarus' appraisal theory, this paper presents a neuropedagogical model of emotion, the somatic appraisal model of affect. SAMA identifies quintessential components, facets, and functions (...) of affect necessary to provide a new domain, namely educational neuroscience, with a basis on which to build a dynamic model of affect serving to critique traditional cognitivist‐oriented curricula and instruction, and to inform an alternative: neuropedagogy. (shrink)

The importance of including performance-related body mechanics into music education to improve performance quality and prevent performance-related injuries has been stressed by many researchers recently. However, it is unclear how this information could be delivered most effectively. The somatic method ‘Timani’ provides a practical solution by combining expertise in music performance and functional body mechanics with the goal of achieving a more efficient playing technique. Since no in-depth study has been conducted to assess the method before, we explored (...) the impact of this method on young musicians’ performance through an online, 4-week-long Timani intervention with a mixed-methodology design. 17 students were recruited from the Norwegian Academy of Music. They participated in two group workshops at the beginning and the end of the project and received four individual Timani sessions administered by certified teachers. We collected survey data at the workshops about performance-related pain and self-efficacy, and qualitative feedback after each session. In addition, all sessions were observed by the researcher and semi-structured interviews were conducted with the teachers about the perceived outcomes and their experiences with teaching the method online. Our findings show that the intervention had a positive impact on a physical, professional, and to some extent, psychological and behavioral level. The improvements included better posture when playing, enhanced control and dexterity in the upper extremities, and improved breathing mechanisms. The seven students who had performance-related pain pre-intervention reported a reduction in the discomfort. The positive results were achieved by the dual expertise of the teachers in music performance and functional body mechanics, the structure of the sessions, the communication, and the pedagogical tools used. Both students and teachers felt that administering the sessions online was satisfactory and produced good results. Timani is a promising method to establish healthy playing and singing habits thus improving performance quality and preventing performance-related problems and has great potential in reducing pre-existing injuries and pain. Also, it can be effectively taught online which has further implications for the logistics of delivery. (shrink)

In this article, I deal with the transition from traditional ‘school’ forms of instruction to educational processes that are fully mediated by digital technologies. Against the background of the idea the very institution ‘school’ is closely linked to the invention of the alphabetic writing system and to the need of initiating new generations into a literate culture, I focus on the issue of literacy training. I argue that with the digitization of education, a fundamental transition takes place regarding what (...) it means to be literate, but also what it means to educate and to be educated. I do so by developing a ‘techno-somatic’ approach, which means that I look at the use of concrete instructional technologies, and the bodily disciplines that are involved. I set out a double comparison in which I contrast existing, ‘traditional’ ways of learning how to read/write with the way in which literacy training looked like before the nineteenth century, on the one hand, and with the initiation into literacy in the Chinese/japanese language, on the other hand. I argue that these comparisons shed light on the differences between traditional and digital literacy. More precisely, I show that in each case, a different relation toward what it means to produce script is involved. As such, both forms of literacy go together with different spaces of experience and senses of being-able, and therefore with altogether different ideas of what education is all about. (shrink)

The article proposes looking at children's literature, particularly the form of the picture book, as an educational resource for producing body awareness in school. Eight reading steps for as many bodily actions aimed at naming the body, activating it, getting to know it and moving it in space, on and off the pages; between grounding, listening, breathing, playing and moving, the rediscovery of gestures and anatomical truths invites to deepen self-knowledge as a preliminary act to the encounter and relationship with (...) the other and with the environment. The picture books by their specificities of short form and cross-over, offer, even in non-fiction production, the possibility of bringing attention back to the body dimension within the school and educational debate, where it lives today in a state of malaise and oblivion. Meaningful conversations, explorations and relationships flow from the pages of the albums: research on language as a tool that gives dignity and value to each person, and encounters with the artistic representation of the world as an infinite mirror of its multiplicity and variety, constitute valuable opportunities for an education that is aware of the wholeness of learners and teachers and the integrated, erotic and embodied dimension of their relationship. (shrink)

Many feminist philosophers have formulated arguments on how the construction and use of reason and rationality, especially in the western philosophical tradition, has silenced, in particular, women's voices. Some writers, such as Luce Irigaray (1985), have suggested that women develop their own discourse and ignore philosophical tradition, whereas others, for example Genevieve Lloyd (1984), contend that this tradition must be confronted. Recently, these concerns have been voiced by feminist philosophers who have been addressing the connections between feminism and the philosophy (...) for children. Terri Field (1995) expresses her concern that traditional philosophy with its established dichotomies (e.g., mind/body, reason/emotion, masculinity/femininity, subjectivity/objectivity) devalues and excludes the somatic, affective and imaginative from philosophical investigation and constructs practical barriers for women to partake in such activity. She uses a feminist critique of reason to assess philosophy for children and its goals of reasonableness. San MacColl (1994, p.5) asks ‘would you wish on women or small girls a practice of philosophy which you yourself have come to see as deeply imbued with disguised, gendered ideals and associations?’ MacColl’s question expresses well the concerns of feminists interested in the philosophical education of children. This paper looks at some of the criticisms by feminist philosophers of traditional western epistemology and how this may impact on philosophy for children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thinking Through the Body, Educating for the Humanities:A Plea for SomaestheticsRichard Shusterman (bio)IWhat are the humanities, and how should they be cultivated? With respect to this crucial question, opinions differ as to how widely the humanities should be construed and pursued. Initially connoting the study of Greek and Roman classics, the concept now more generally covers arts and letters, history, and philosophy.1 But does it also include the social (...) sciences, which are often distinguished from the humanities and grouped as a separate academic division with greater pretensions to scientific status? And should our pursuit of humanistic study be concentrated on the traditional methods and topics of high culture that give the humanities an authoritative aura of established nobility, or should it extend to new and funkier forms of interdisciplinary research such as popular culture or race and gender studies?Despite such questions and controversy, it is clear (even from etymology) that the meaning of the humanities essentially relates to our human condition and our efforts to perfect our humanity and its expression. But what, then, does it mean to be human? I cannot pretend here to adequately answer such a complex and difficult question. I will, however, argue that because the body is an essential and valuable dimension of our humanity, it should be recognized as a crucial topic of humanistic study and experiential learning. Though the truth of this thesis should be obvious, it goes sharply against the grain of our traditional understanding of the humanities. One striking example of such antisomatic bias is the very term that German speakers use to designate the humanities, "Geisteswissenschaften," whose literal English translation would be "spiritual (or mental) sciences," as contrasted to the natural sciences (Naturwissenschaften) that treat physical life, [End Page 1] with which, of course, the body is clearly linked. Hence, given the pervasive physical/spiritual opposition, the body is essentially omitted or marginalized in our conception of humanistic studies.2We humanist intellectuals generally take the body for granted because we are so passionately interested in the life of the mind and the creative arts that express our human spirit. But the body is not only an essential dimension of our humanity, it is also the basic instrument of all human performance, our tool of tools, a necessity for all our perception, action, and even thought. Just as skilled builders need expert knowledge of their tools, so we need better somatic knowledge to improve our understanding and performance in the arts and human sciences and to advance our mastery in the highest art of all—that of perfecting our humanity and living better lives. We need to think more carefully through the body in order to cultivate ourselves and edify our students because true humanity is not a mere genetic given but an educational achievement in which body, mind, and culture must be thoroughly integrated. To pursue this project of somatic inquiry, I have been working on an interdisciplinary field called somaesthetics, whose disciplinary connections extend also beyond the humanities to the biological, cognitive, and health sciences, which I see as valuable allies for humanistic research.3Somaesthetics, roughly defined, concerns the body as a locus of sensory-aesthetic appreciation (aisthesis) and creative self-fashioning. As an ameliorative discipline of both theory and practice, it aims to enrich not only our abstract, discursive knowledge of the body but also our lived somatic experience and performance; it seeks to enhance the meaning, understanding, efficacy, and beauty of our movements and of the environments to which our movements contribute and from which they also draw their energies and significance. Somaesthetics, therefore, involves a wide range of knowledge forms and disciplines that structure such somatic care or can improve it. Recognizing that body, mind, and culture are deeply codependent, somaesthetics comprises an interdisciplinary research program to integrate their study. Mental life relies on somatic experience and cannot be wholly separated from bodily processes, even if it cannot be wholly reduced to them. We think and feel with our bodies, especially with the body parts that constitute the brain and nervous system. Our bodies are likewise affected by mental life, as when certain thoughts bring a blush to... (shrink)

Thinking in medicine is still dominated by the cartesian view of science of the past centuries, dividing individuals into the reasoning mind (res cogitans) and an objective body as part of all non-subjective things of the world (res extensa). This classical scientific paradigm does not take into account the influence the observer exerts on the observed phenomena. Applying this paradigm to medical research and education has consequences regarding the relationship between physicians and patients as well as between medical teachers (...) and their students. An improvement of medical education towards a broader understanding of complex illnesses with their psycho-social implications must be based on philosophical and epistemological issues. The requirements of modern medicine cannot just be met by adding more psycho-social content to somatic medical education or by changing the didactic approach without reflection on the underlying concepts and the relation of the human being to his world. (shrink)

Philosophers sometimes hope that our discipline will be transformative for students, perhaps especially when we teach so-called philosophy of the body. To that end, this article describes an experimental upper-level undergraduate course cross-listed between Philosophy and Physical Education, entitled “Thinking Through the Body: Philosophy and Yoga.” Drawing on the perspectives of professor and students, we show how a somatic practice (here, hatha yoga) and reading texts (here, primarily contemporary phenomenology) can be integrated in teaching and learning. We suggest (...) that the course raised questions about the ethics of evaluation as well as about the split between theory and practice, which have larger pedagogical implications. (shrink)

Amidst the lingering prominence of idealist and rationalist traditions in the philosophy of education, the notion of living, sentient body (or soma) seems to have received scant attention by educational philosophers hitherto. These traditions—whose strong influence can be traced back to such philosophers as Plato, Descartes, Leibniz and Wolff—elevate and privilege the import of reasoning and mind over the body, rendering the latter ancillary and even distorting to the pursuit of knowledge and truth. Drawing on the idea of somaestehtic (...) philosophy initially proposed by Richard Shusterman, this article first discusses this philosophical outlook and then expands it by foregrounding the notion of the libidinal body—that is, the potentiality of the performative dimension of the soma in constructing and reconstructing knowledge. It argues that the soma itself is, in fact, the site of desire for knowledge production and reproduction. To buttress this argument, the article provides evidence from Borneo's Dayaknese communities as one of the instances of the somatic society where the practices of the libidinal body for the community's education are most conspicuous. The article ends with some thoughts on the possible research directions the philosophy of education ought to take to push the field forward in its pursuit for virtue and the good life. (shrink)

This paper is a summary and extension of almost four decades of research directed toward an explication of the human mind. To achieve a precise, testable proposition that defines mind, I follow a historically rich tradition of materialism. First, an empirical basis is established wherein electropsychologically measured events from the brain, eyes, somatic and speech musculature occur almost simultaneously during a variety of cognitions. The inference is that these covert reactions form components of neuromuscular circuits governed by cybernetic principles. (...) Conversely, when the striated musculature is totally inactive, cognitions are absent. The conclusion is that muscular components of the circuits are necessary for cognitions. An explication of the human mind emerges as the selective interaction of bodily systems to generate contents of mind and to program covert and overt behavior. Clinical and educational applications follow. (shrink)

This exploration aims to solve the problems of imperfect psychological health education system and poor educational effects on college students. Here, ideological and political education is integrated with mental health education to investigate the role of collaborative intervention in guiding college students to resist negative emotions. First, an overview is offered of research on ideological and political education, mental health education, and negative emotions by the literature survey method. Moreover, a comprehensive investigation is also conducted (...) on research objects, through the questionnaire, to understand the current situation of negative emotions of college students. And finally, an intervention experiment is taken on the negative emotions of college students by combining ideological and political education with mental health education. The results show that after 10 weeks of intervention experiment by combining ideological and political education with mental health education, there are significant differences in depression, negative emotions, somatization symptoms, and interpersonal problems between the treatment group and the control group. Besides, there are significant differences in depression, negative emotions, somatization symptoms, and interpersonal problems between sophomores in the treatment group and the control group. Moreover, there are significant differences in depression, negative emotions, somatization symptoms, and interpersonal problems between male participants in the treatment group and the control group. In summary, ideological and political education integrated with mental health education has a positive guidance effect on the negative emotions of college students, greatly improving the negative emotions of the students, helping the students to regulate their emotions, and benefiting their study and life a lot. The purpose of integrating ideological and political education with mental health education is to provide reference for refining the mental health education system of college students and strengthening the positive guidance of negative emotions of college students. (shrink)

One of the important determinants of development during the transition to adulthood is the undertaking of social roles characteristic of adults, also in the area of finishing formal education, which usually coincides with beginning fulltime employment. In the study discussed in this paper, it has been hypothesized that continuing full-time education above the age of 26, a phenomenon rarely observed in Poland, can be considered as an unpunctual event that may be connected with difficulties in the process of (...) identity formation. Relationships between identity dimensions and identity statuses, and age and educational context were analyzed. 693 individuals aged 19-35 took part in the study. The participants attended three types of educational institutions: full-time university studies, part-time university studies, and full-time post-secondary school. Among the students of full-time university studies predictable dependencies, also in respect of highlevels of indicators of identity crisis and a high frequency of diffused identity occurrence, were observed. Such dependencies were not found in the group of full-time post-secondary school students. (shrink)

Part of the educational system in England has been geared towards the preparation of particular professions, while the identity and status of members of some professions have depended significantly on the general education they have received. Originally published in 1973, this volume explores the interaction between education and the professions. It also looks at the education of the main professions in sixteenth century England and at how twentieth century university teaching is a key profession for the training (...) of new recruits to other professions. (shrink)

Higher education has been changing radically in recent years, with increasing numbers of students, and complaints about declining standards. This volume brings together leading intellectuals from the US and UK to examine the issues involved.

This article analyses how difficulties are used as learning tools in the Feldenkrais Method of somatic education (FM), drawing on Moshe Feldenkrais’s theory and teachings, my experience as a practitioner since 2007 and my use of FM in postgraduate academic teaching. Performer training, particularly Eugenio Barba’s work, offers a wider context of embodied practice. FM challenges the parameters of difficulty, framing it as inherently productive. Key difficulties used productively in FM are the non-habitual, constraints, differentiation, diffuse attention and (...) disorientation. To demonstrate the connection between physical and intellectual difficulties, I draw on Sara Ahmed’s queer phenomenological approach to orientation and Maxine Sheets-Johnstone’s argument for the ‘primacy of movement’. I offer new ways of thinking about difficulty as emergent rather than intrinsic, expanding outwards from clearly embodied practices towards intellectual ones. To anchor this, I refer to an experiment in Israel aiming to integrate ‘organic’ and ‘scholastic’ learning through FM. (shrink)