The author suggests that educational philosophy should benefit from addressing questions traditionally asked within discourse in the philosophy of mind, namely: the relation between the mind and world and the problems of intentionality (or aboutness), meaning, and representation. Peirce's semiotics and his category of creative abduction provide a novel conceptual framework for exploring these questions. A model of reasoning and learning, based on Peirce's triadic logic of relations, is analysed. This model, it is argued, is fruitful for overcoming the paradox (...) of new knowledge that was first debated by Socrates in his dialogue with Meno. (shrink)

According to a widespread view, one of the most important roles of education is the nurturing of common sense. In this article I turn to Gilles Deleuze’s concept of sense to develop a contrary view of education—one that views education as a radical challenge to common sense. The discussion will centre on the relation of sense and common sense to thinking. Although adherents of common sense refer to it as the basis of all thought and appeal to critical thinking as (...) instrumental in eliminating its occasional errors, I shall argue, following Deleuze, that common sense education in fact thwarts thinking, while only education which revolves around making sense may provoke thinking that goes beyond the self-evident. I demonstrate how making sense can become an educational encounter that breaks hierarchies and generates thinking independently of the thinker’s knowledge and place in the sociopolitical order. The present article attempts, therefore, to put some sense into Deleuzian education for thinking, and thereby shed new light on its radical-political, counter-commonsensical power. (shrink)

It is suggested that Charles Sanders Peirce's triadic semiotics provides a framework for a diagrammatic representation of a sign's proper structure. The action of signs is described at the logical and psychological levels. The role of (unconscious) abductive inference is analyzed, and a diagram of reasoning is offered. A series of interpretants transform brute facts into interpretable signs thereby providing human experience with value or meaning. The triadic structure helps in de-mystifying the relations between Penrose's three worlds when the latter (...) are considered as constituting a semiotic triangle. (shrink)

This paper aims at exploring a particular dimension of the affinity between Gilles Deleuze and pragmatism: his ontology of the virtual, which results in a metaphysics of power. In Deleuze’s reading of Spinoza, the essence of an entity is identical to its power: what can it do? substitutes the Socratic ti esti? as the leading philosophical question. This shift, operated by Spinoza and given a new and adequate ontology by Deleuze, is very close to Peirce’s pragmatic revolution: if Deleuze’s virtual (...) ideas are identical to the range of variations in power and affects that a body may go through, Peirce defines meaning in terms of the whole range of possible effects that an idea would produce if taken to be true. Contradictory as it may sound, the concept of the virtual entails something like a pragmaticism of the singular, which informs every aspect of Deleuze’s philosophy: his doctrine of faculties and his theory of praxis will be used as instances of this pervasiveness. This pragmatist reading of Deleuze could possibly shape an alternative path for contemporary pragmatism: instead of valorising its “edifying” (linguistic, historicistic, humanistic) tendency, Deleuze allows to highlight the vitality of the second vein of pragmatism, the “constructive,” empiricist, speculative, even metaphysical one. (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 proffers a critical reading of multiliteracy pedagogy and a materialism of the multimodal and machinic. A critical stance is taken against the mesmerising modes of representation that run rampant across our ocular territories. The article assesses the dangers of fetishizing technologies. To this end, Multiple Literacies Theory (MLT) is read through a Guattarian theoretical prism to emphasise four chief points: (1) the role of the unconscious, (2) the role of affect (affectus in the Spinozian sense; contrary to feeling (...) which immobilises, affect moves us), (3) the apparent becoming cyborg of the human race and (4) the desire to desire repression. The author contends that while qualitative multiplicities play a central role for MLT, it is neither inconsistent nor contradictory to consider the role of the machinic in greater detail. It is argued that more research must be directed into the cartographic, ethological and noological mechanisms at work in plastic universes of reference (new technologies and the arts) which transform the virtual and transfigure the dynamic of affect. (shrink)