What is critical thinking, especially in the context of higher education? How have research and scholarship on the matter developed over recent past decades? What is the current state of the art here? How might the potential of critical thinking be enhanced? What kinds of teaching are necessary in order to realize that potential? And just why is this topic important now? These are the key questions motivating this volume. We hesitate to use terms such as “comprehensive” or “complete” or (...) “definitive,” but we believe that, taken in the round, the chapters in this volume together offer a fair insight into the contemporary understandings of higher education worldwide. We also believe that this volume is much needed, and we shall try to justify that claim in this introduction. (shrink)

In the age of web 2.0, the university is constantly challenged to re-adapt its ‘old-fashioned’ pedagogies to the new possibilities opened up by digital technologies. This article proposes a rethinking of the relation between university and (digital) technologies by focusing not on how technologies function in the university, but on their constituting a meta-condition for the existence of the university pedagogy of inquiry. Following Ivan Illich’s idea that textual technologies played a crucial role in the inception of the university, we (...) will first show the structural similarities between university thinking and the text as a profanation of the book. Secondly, we describe university thinking as a type of critical thinking based on the materiality of the text-on-the-page, explaining why the text has been at the centre of university pedagogy since the beginning. In the third part, we show how Illich came to see the end of the culture of the text as a challenge for the university, by describing the new features of the text-as-code incompatible with the idea of reading as study. Finally, we challenge this pessimistic reading of Illich’s and end with a call for a profanatory pedagogy of digital technologies that could mirror the revolutionary thinking behind the mediaeval invention of the text. (shrink)

The authors develop an analysis of education. They show how education carries an essentially arbitrary cultural scheme which is actually based on power. More widely, the reproduction of culture through education is shown to play a key part in the reproduction of the whole social system.

Media philosopher Vilém Flusser proposed a revolutionary new way of thinking about photography.

A revision of George Kennedy's translation of, introdution to, and commentary on Aristotle's On Rhetoric. His translation is most accurate, his general introduction is the most thorough and insightful, and his brief introductions to sections of the work, along with his explanatory footnotes, are the most useful available.

In this lyrical meditation on listening, Jean-Luc Nancy examines sound in relation to the human body. How is listening different from hearing? What does listening entail? How does what is heard differ from what is seen? Can philosophy even address listening, écouter, as opposed to entendre, which means both hearing and understanding? Unlike the visual arts, sound produces effects that persist long after it has stopped. The body, Nancy says, is itself like an echo chamber, responding to music by inner (...) vibrations as well as outer attentiveness. Since “the ear has no eyelid” (Quignard), sound cannot be blocked out or ignored: our whole being is involved in listening, just as it is involved in interpreting what it hears. The mystery of music and of its effects on the listener is subtly examined. Nancy’s skill as a philosopher is to bring the reader companionably along with him as he examines these fresh and vital questions; by the end of the book the reader feels as if listening very carefully to a person talking quietly, close to the ear. (shrink)

Most of us have grown up with faces on television that look back at us, talk to us, even whenwe ignore them. They smile at us, and seem to address us personally. But they cannot seeor hear us, and we may or may not know who they are. Increasingly, in societies wherescreens are prevalent , our encounters with fellow humanbeings are mediated in ways such as this. Has the ubiquitous intervention of screens in ourlives thus made it harder to understand (...) and communicate directly with one another? Or,have screens extended our capacity to empathise and ‘socialise’, bringing us face-to-facewith people and points of view that we otherwise would never have encountered? In thisessay, I examine the idea that cinematic perception enables us to see the social world froma radically different perspective, and that an experience of this perspective may in itself beethical. I focus on the use of ‘direct address’, and discuss two documentaries by Errol Morriswhere the technique of direct address is used in ways that complicate ideas of mediationand empathy: Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. and The Fog of War:Eleven Lessons from the Life of Robert S. McNamara . I also draw on the philosophyof Emmanuel Levinas, particularly his work on ethics and the face, to analyse the effects ofMorris’s techniques. The essay highlights the importance of responsibility in human communication, and maintains that by reflecting on the viewing situation we are betterpositioned to empathise with Morris’s controversial subjects. (shrink)

This chapter contains sections titled: I II III IV.

Criticism of Shakespeare's comedies has shifted from stressing their light-hearted and festive qualities to giving a stronger sense of their dark aspects and their social resonances. This volume introduces the key critical debates under five headings: genre, history and politics, gender and sexuality, language and performance.

Terry Lectures. A religious philosopher's exploration of the nature and history of the word argues that the word is initially and always sound, that it cannot be reduced to any other category, and that sound is essentially an event manifesting power and personal presence. His analysis of the development of verbal expression, from oral sources through the transfer to the visual world and to contemporary means of electronic communication, shows that the predicament of the human word is the predicament of (...) man himself. (shrink)

In Post-History, Vilém Flusser asks the essential question: Is there any room left for freedom in a programmed world? Written as a series of lectures to be delivered at universities in Brazil, Israel, and France, this first English translation of Post-History brings to an anglophone readership Flusser's first critique of apparatus as the aesthetic, ethical, and epistemological model of present times.

Gestures is a collection of essays that proposes a daring and ambitious new conception of human behavior. Defining gesture as “a movement of the body or of a tool attached to the body for which there is no satisfactory causal explanation,” Flusser moves around the topic from different points of view, angles and distances: sometimes he zooms in on a modest, ordinary movement like taking a photograph, shaving, or smoking a pipe. Sometimes he pulls back to look at something as (...) vast and varied as human “making,” embracing everything from the fashioning of simple tools to mass manufacturing. Holding firmly to basic phenomenological principles – that consciousness is always consciousness of something, that we know others by reference to ourselves, he claims that we constantly “read” states of mind, i.e. thoughts, intentions, emotions, from gestures; still we lack a theory about how this happens. Gestures takes a first step. It offers alternatives to theories by now so veiled by habit and myth that we are hardly conscious of them, and so hardly realize that they are failing. These include the assumption that we can “know” something without being affected by it, the belief that science is value-free, and the common conviction that science and art are fundamentally different activities. (shrink)

During the 1980s Illich added another dimension to his thought through the study of Medieval history. In the current volume he aims to demonstrate the extent to which the groundwork for the institutions that characterize our world today was laid in the twelfth century.

This essay focuses on the fundamental significance of the Holocaust in Vilém Flusser’s life and thinking. In his still unpublished Até a terceira e a quarta geração written in the early 1960ies, the problem of Nazism is explicitly thematized and linked to the development of Western society. The abandonment of a religious view of the world in the Renaissance led to the loss of a grounding sense of reality, which was filled up by science and later on by nationalism. These (...) developments eventually led to the First and the Second World War, as well as to Auschwitz and Adolf Eichmann as the ideal representatives of the apparatus and the functionary. (shrink)

Before the rise of universities, cathedral schools educated students in a course of studies aimed at perfecting their physical presence, their manners, and their eloquence. The formula of cathedral schools was "letters and manners" (litterae et mores), which asserts a pedagogic program as broad as the modern "letters and science." The main instrument of what C. Stephen Jaeger calls "charismatic pedagogy" was the master's personality, his physical presence radiating a transforming force to his students. In The Envy of Angels, Jaeger (...) explores this intriguing chapter in the history of ideas and higher learning and opens a new view of intellectual and social life in eleventh- and early twelfth-century Europe. (shrink)

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Ten years after his death, Vilém Flusser’s reputation as one of Europe’s most original modern philosophers continues to grow. Increasingly influential in Europe and Latin America, the Prague-born intellectual’s thought has until now remained largely unknown in the English-speaking world. His innovative writings theorize—and ultimately embrace—the epochal shift that humanity is undergoing from what he termed "linear thinking" toward a new form of multidimensional, visual thinking embodied by digital culture. For Flusser, these new modes and technologies of communication make possible (...) a society in which dialogue between people becomes the supreme value.The first English-language anthology of Flusser’s work, this volume displays the extraordinary range and subtlety of his intellect. A number of the essays collected here introduce and elaborate his theory of communication, influenced by thinkers as diverse as Martin Buber, Edmund Husserl, and Thomas Kuhn. While taking dystopian, posthuman visions of communication technologies into account, Flusser celebrates their liberatory and humanizing aspects. For Flusser, existence was akin to being thrown into an abyss of absurd experience or "bottomlessness"; becoming human required creating meaning out of this painful event by consciously connecting with others, in part through such technologies. Other essays present Flusser’s thoughts on the future of writing, the revolutionary nature of photography, the relationship between exile and creativity, and his unconventional concept of posthistory. Taken together, these essays confirm Flusser’s importance and prescience within contemporary philosophy.Vilém Flusser was born in Prague and taught philosophy in Brazil. Andreas Ströhl is director of the film department at the Goethe-Institut Inter Nationes in Munich. Erik Eisel works for a software technology company in Southern California. (shrink)

A denounciation of present-day schooling with radical suggestions for reform.

On the future of our educational institutions -- Lecture I (January 16, 1872) -- Lecture II (February 6, 1872) -- Lecture III (February 27, 1872) -- Lecture IV (March 5, 1872) -- Lecture V (March 23, 1872).

ArgumentMuch recent research has established the importance of visualization in modern science. This essay treats, instead, of the continued importance of the aural and oral: the professorial voice. The professor remains important for science since so many scientists still instantiate this persona and, as is here argued, a “voice” constitutes an essential feature of it. The form of the essay reflects its contents. From the Middle Ages until well into the modern era, the archetypal professorial genre was the disputation, an (...) oral event recast in written form. Apropos of the traditional disputation, this essay begins with a disquisition more or less to the point. It concerns Nietzsche’s first major publication, which violated norms for the proper professorial voice, thus accelerated the destruction of his academic career. The essay then presents six theses on the professorial voice. The theses treat relevant aspects of the professorial voice from the Sophists onward. It is argued, in Weberian terms, that the professorial voice or persona embodies elements of charismatic and traditional authority which coexist with and condition the rational authority or “objectivity” of science. (shrink)

This paper reviews two main historical approaches to creativity: the Romanticist approach, based on the culture of the irrational, and the Enlightenment approach, based on the culture of the objective. It defends a paradigm of creativity as a sum of rich semiotic systems that form the basis of distributed knowledge and learning, reviews historical ideas of the university, and identifies two conflicting mainstream models in regards to understanding of the university as a public good: the ‘Public’ University circa 1960–1980, and (...) the ‘post-historical’ university. Based on practical experiences, and on previous works by Peters and Jandrić, it develops the new model of ‘the creative university as digital public university’, and argues that it provides a useful philosophical goal for directing present and future practices of the contemporary university. (shrink)