This reflexive account is of a phenomenological study that took place over two years. It explores how a group of primary-aged children perceive, express and reflect on their embodiment through movement. Children aged between four and eleven took part in sessions of yoga, somatic movement and developmental play during the school day. The data include field notes, observations, a reflexive journal, photographs of and by the children, their drawings, mark-makings, writing and posters. Children were also interviewed at the end of (...) the study, when they had an opportunity to reflect on all their work and experiences. All the children were capable of expressing and reflecting on their experiences, and the oldest children in particular appeared to enjoy and seemed to benefit from the reflective process. By linking together a sense of self-awareness and reflection, the children appeared able to gain insight into their embodied experience and reflect on emotions, feelings and events. Embodiment is a process as much of a state of being, and as such has implications for perceptions of mind and body, learning, and reflective practice. This approach to embodied reflective practice thus has potential for educators, and teacher trainers as well as direct work with children. (shrink)

The persisting usage of virtual means for the completion of activities usually or traditionally held in person stimulates the reflection about the possible effect that doing philosophy online could have on the philosophical integrity of the process. The body question seems to be pivotal in this context not only as far as concerning virtuality issues but also philosophy’s care to integrate the body into its routines – when it is practiced physically – especially in the frame of an education still (...) hesitating to embrace embodied experience. The body deficiency, its vanishing, is first of all a question for philosophy and its ways to be practiced today – on that basis, passing through virtuality’s discourses can enlighten the relevant reflection. (shrink)

The purpose of the thesis is to put forth and explore a notion of teaching as a practice of attention formation. Drawing on educational philosophy and the Didaktik/Pädagogik-traditions, teaching is explored as a relational and lived-though practice that can promote, form, and share attention. In the context of teaching, attention is connected to the acts of showing and observing. As such, teaching can be seen as a complex of relations that emerges through the intersection of the intentions of the one (...) who is showing and the one who is observing. This intersection creates a tension between the self-active student and the paths made possible for this self-activity. The pedagogical dimension of this tension can be expressed through the principles of the summons to self-activity and Bildsamkeit. By turning to some key-texts of the French philosopher Jacques Rancière, I explore how the notion of teaching as attention formation can be understood from within a radical relational perspective on education and also how attention itself can be thought of as an educational phenomenon. From this critical relational perspective, where the relation is seen as constitutive of educational situations and where the possibility for uniqueness, difference, and freedom are regarded as central characteristics for a democratic conception of education, I interpret Rancière’s notions of intellectual emancipation and partage du sensible as political/aesthetic analogues to the summons to self-activity and Bildsamkeit, respectively. While the event of intellectual emancipation, although constituted relationally, mainly addresses the unique attentive subject, the notion of le partage du sensible draws attention to the larger and shared context in which this event takes place. In the thesis, teaching as attention formation is addressed as a relational phenomenon in which the unique and irreplaceable subject is called into being and is given space to respond to the summons of the surrounding world and to strive against the materiality of that very same world. It is suggested that attention formation might be the educational event when someone, as a unique other, is called into presence and is given room to claim and to speak for his or her interest. It is an event made possible by those teachers who have the sensibility to discover its coming, the courage to let it happen, and the strength to accept the consequences of it. (shrink)

Embodiment as a compelling way to rethink the nature of teaching and learning asks participants to see fundamentally what is at stake within teaching/learning situations, encountering ourselves and our relations to others/otherness. Drawing predominantly on the thinking of John Dewey and Maurice Merleau-Ponty the body's role within teaching and learning is enfleshed through the concrete experiences of one middle-school science teacher attempting to teach for greater student inquiry. Personal, embodied understandings of the lived terms of inquiry enable the science teacher (...) to seek out the lived terms of inquiry in her classroom alongside students. Theories are taken up as working notions for the teacher to examine as philosophical/theoretical/pragmatic processes to be worked with, and concomitantly, working as dynamic practice at the core of the teacher's thinking and experiences. The theory/practice conjuncture of inquiry is thus enfleshed, gaining embodied understandings. Embodiment as the medium enhancing comprehension is evidenced as holding worthy implications for teacher education. Teacher education must fall into trust with the body's role in teaching and learning. (shrink)

Often defined as originality and innovation and desired for the economic profits it can produce for both individuals and their societies, creativity has been examined in order to find ways in which it can be promoted through various instructional practices in and beyond schools. Nonetheless, creativity as a fundamental basis of human existence and learning in a shared world is largely understudied. In this article, I examine the commonly held assumptions of creativity as it is incorporated into educational practices—that is, (...) the notion of creativity as developable and achievable, and often as measurable and evaluable. I explore some of the consequences of understanding creativity in this way and assert the need to reclaim the notion of creativity in order to recognize the ways in which creativity is a part of our everyday lived experiences, always including interactions with the bodily self, co-existing others, and the phenomenal world. Understanding creativity as an expressive mode and way of being in the world encourages a rethinking of creativity in education, positioning creativity as implicitly interwoven in the act of expression as it is undertaken in a community and advocating that this expression ought to be encouraged in both processes and products of learning. (shrink)

This article takes Vandenberg’s critique of Ream and Ream’s view on the Deweyan learning environment as a departing point to explore the educational meaning of place. The divergence between Vandenberg and the Reams reminds us that the place is not merely a physical site for learners to be located in but also a horizon to be engaged with. Vandenberg and the Reams provide readers with inspirational understandings of Dewey in different aspects. Yet they both seem to give little attention to (...) the point implied in Dewey’s view that learning is a process of existential—embodied and affective—engaging with the place. Drawing on the philosophy of Merleau-Ponty, this article aims to retrieve and to highlight the significance of existential engagement of place as an element in the Deweyan process of learning. (shrink)

This paper argues for the importance of a passive form of embodiment for educational purposes to capture tacit environmental influences. G. Buck’s account of learning as experience is put in discussion with psychological approaches to reveal the limitation of what psychology can achieve, especially when it comes to situated experiences within educational environments. As a solution to overcome this problem a concept of passive embodiment is developed that allows for a body that is receptive to multisensory environmental influences. Böhme’s concept (...) of atmospheres in relation to Schmitz’ New Phenomenology provide a theoretical framework to understand how these situated experiences are evoked by certain situations. This allows for a new understanding of passive, embodied experiences within educational environments by incorporating the tacit influences of the setting. (shrink)

With an avid attention to the valuing of embodiment and a championing of the re-emergence of the body as site for discussions of knowledge and knowing, this essay shares aspects of my practice that engage a performative, haptic, situated engagement with the body through the artist’s book. The motivation for the creation of my bookworks was an interest in manifesting situated knowing and embodied ways of becoming. Engaging form, materiality, and bodily history, my artists’ books explore the processes and metaphors (...) of digestion and in one example, mindfulness practice. In libraries and collections with links to health, my artists’ books can be experienced in teaching and research contexts to examine the body, health, illness and wellbeing. This essay focuses on my books which communicate embodied knowledge in several ways: through phenomenological writing to give expression to my irritable bowel syndrome and how it impacts on my teaching practice in Reflection on Digestion; through bodily material of Entrail Troyen; through the image of the digestive system in On Innards, Reflection on Digestion, and Entrail Troyen, particularly the concertina form emulating the undulations of the intestines; and through images of found objects that resemble the bowels in Huwawa in the Everyday. (shrink)