Relational freedom and equality in learning: the affect of Sartre and Rancière

Matthews, Miranda

doi:10.1080/14681366.2021.1872683

Cited by 2 publications

(1 citation statement)

References 37 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…This discussion of the extraordinary as the unknown within the familiar locates the defamiliarisation of familiarity in art practice as a learning experience (Mannay 2010; Rancière 2010; Matthews 2022), the rétrouvé or re‐found and resituated illuminates different properties and facets of that which we had thought to be already completely iterated and experienced. The defamiliarisation of locality brings this article's argument to ecological philosophies of education and to the re‐learning, grounding practices of what Nardi (2019) calls a ‘post‐growth politics’ to counteract neoliberalist performativity and global depletion, urging art and design to take stock of what remains to be seen in the natural environment, as it battles the unattuned, polluting creations of humankind.…”

Section: Part 1: Philosophy Of the Daily Extraordinarymentioning

confidence: 90%

Arts Practice as the Daily Extraordinary: A Philosophy of Inclusivity

Matthews

2024

Int J Art Design Ed

Self Cite

View full text Add to dashboard Cite

To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the ‘daily extraordinary.’ A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors.

show abstract