In his article Potentialism and the experience of the new, Jasinski argues for the use of a potentialist approach in education by relating it to a line of thought that starts with Dewey and is fulfilled by Agamben and Lewis. Although the reading that Jasinski offers on potentialism is interesting, his understanding of Dewey is problematic. In this paper, I argue that much of what Jasinski claims as worthy of pursuit in education is already contained in the Deweyan questions of (...) newness, openness, and radical possibility. Even the Agambenian notion of ‘coming community’ falls under a Deweyan understanding of society and democracy, which, in Deweyan thought, always exist in suspension and connectedness. Given such premises, the idea of education that emerges from Deweyan thought is that of a leap. The question regarding what education is and entails is left radically open by Dewey, for education belongs to the not-yet. (shrink)

Curiously, while the efficacy of the arts for the development of multicultural understandings has long been theorized, empirical studies of this effect have been lacking. This essay recounts our combined empirical and philosophical study of this issue. We explicate the philosophical considerations that shaped the development of the arts course we studied, which was grounded in rather traditional humanist educational thought, informed by Deweyan considerations for pedagogy and multiculturalism. We also provide an overview of the course and of the study (...) design: the ways in which the course worked to teach aesthetic theory through a combination of popular and canonical works, and the ways in which it sought to instill a sense of cross-cultural appreciation and solidarity among students through the inclusion of art from different cultures and generations. We then share our research findings and our return to the realm of philosophy to interpret them. Our postcolonial analysis incorporates emerging discussions of the arts as a tool for resistance and dialogue within the system of public education, and revisit and reconsider the very concept of education for pluralistic democracy. This approach problematizes traditional conceptions of pluralism, in which an attempt is made to dissolve difference in a common understanding, and instead advocates that works from among the contemporary popular arts and works drawn from the artistic “canon” alike must be considered and employed for their instrumental value to the educational process—especially for their ability to prompt an intersubjectivity that is accompanied by a heightened awareness of difference. (shrink)