This volume examines the challenges weighing on the future of education in the face of globalization in the twenty-first century. Bringing together eleven authors who explore the paradox of an "after" to the future of education, each chapter in this book targets three important areas: ecology as understood in the broader framework of globalization and pedagogy; curriculum concerns which impact learning; and the pervasiveness of technology in education today.

This volume weaves together a variety of perspectives aimed at confronting a spectrum of ethico-political global challenges arising in the Anthropocene which affect the future of life on planet earth. In this book, the authors offer a multi-faceted approach to address the consequences of its imaginary and projective directions. The chapters span the disciplines of political economy, cybernetics, environmentalism, bio-science, psychoanalysis, bioacoustics, documentary film, installation art, geoperformativity, and glitch aesthetics. The first section attempts to flesh out new aspects of current debates. Questions over the Capitaloscene are explored via conflations of class and climate, revisiting the eco-Marxist analysis of capitalism, and the financial system that thrives on debt. The second section explores the imaginary narratives that raise questions regarding non-human involvement. The third section addresses 'geoartisty,' the counter artistic responses to the speculariztion of climate disasters, questioning eco-documentaries, and what a post-anthropocentric art might look like. The last section addresses the pedagogical response to the Anthropocene.

This book problematizes the role of education in an increasingly mediatized world through the lenses of creativity, new media, and consumerism. At the core of the issue, the author argues, creativity in art education is being co-opted to serve the purposes of current economic trends towards designer capitalism. Using an East meets West approach, jagodzinski draws on Deleuze and Guattarian philosophy to explore visual and popular culture in Korean society, addressing the tensions that exist between designer education and art that explores the human condition. In doing so, he challenges art educators to envision a new paradigm for education which questions established media ontologies and incorporates new ways to confront the crisis of the Anthropocene.

Youth Fantasies is a collection of studies conducted in cross-cultural collaboration over the past ten years that theorizes “youth fantasy” as manifested through the media of TV, film, and computer games. The collection includes case studies of “X-Files” fans, the influence of computer games and the “Lara Croft” phenomenon, and the reception of western television by Tanzanian youth. This book is a much needed reconciliation between cultural studies and Lacanian psychoanalysis, and highlights why Lacan is important to note when exploring youth fantasy and interest in the media, especially in shows like “X-Files”.

This book explores new pedagogical challenges and potentials of the Anthropocene era. The authors argue that this new epoch, with an unstable climate, new kinds of globally spreading viruses, and new knowledges, calls for a new way of educating and an alertness to new philosophies of education and pedagogical imaginations, thoughts, and practices. Addressing the linkages between the Anthropocene and Pedagogy across a broad pedagogical spectrum that is both formal and informal, the editors and their contributors emphasize a re-imagining of education that serves to deepen our understanding of the capacities and values of life.

This book provides a thorough application of theoretical ideas from Deleuze and Guattari to a series of examples drawn from contemporary film and new media arts. Chapters demonstrate examples of how to do schizoanalysis in philosophically informed cinema studies, new media, and arts based education. Schizoanalysis, as proposed by Deleuze and Guattari in distinction to Lacanian psychoanalysis, provides an imaginary basis to address the precarity of the contemporary world order: from the growing populism with its authoritarian fascist tendencies to the growing concerns regarding climate change within the Anthropocene. Part I of this book initiates this understanding through cinematic examples. Part II calls for a schizoanalytic pedagogical imagination, which is needed to provide insight into the structures of desire as they circulate in media, especially videogames, and the tensions between analogue and digital technological manifestations. Such pedagogy enables an understanding of the 'new materialism' where nonhuman and inhuman (AI) agencies are taken into account. To this end schizoanalytic pedagogy calls for a 'new earth' of transformed values and relationships.

What is the right pedagogical distance for learning to take place? What should be the teacher's role concerning a student's desire? Ethically speaking, how are we to understand the dialectic between desire and the drive? Are we obligated to help students mourn the knowledge that they must let go? Can ignorance (which sounds pejorative) be pedagogically useful as that which is unsaid and repressed? When the pedagogical distance collapses and seduction takes place, can such behavior be excused? These are just some of the questions that are raised throughout this collection by the authors. Lacanian psychoanalysis presents a challenge to our usual understanding of the subject as formulated by ego psychology, as well as the discursive subject of postmodernism. Can Lacan's tripartite psychic registers of the Real, Imaginary, and the Symbolic present the subject in unending intrapsychic conflict? Can pedagogy address this struggle? How do we, as educators, take the notion of the unconscious seriously into account? The authors of this collection engage themselves in such questioning, in some cases examining their own practices and in other cases developing possible strategies with a view of understanding the psychic life of teaching.

This book brings together a collection of multi-disciplinary voices to discuss, debate, and devise a series of ahuman pedagogical proposals that aim to address the challenging ecological, political, social, economic, and aesthetic milieu within which education is situated today. Attending to contemporary calls to decenter all-too-human educational research and practice, while also coming to terms with the limits and inheritances through which such calls are made possible in the first place, this book aims to interrogate, but also invent, what we are calling an ahuman pedagogy. Organized in three main sections — Conjuring an Ahuman Pedagogy, Machinic Re/distributions, and Non-pedagogies for Unthought Futures — this multi-disciplinary experiment in ahuman pedagogies for the age of the Anthropocene offers an experimental – albeit always speculative and incomplete – series of pedagogical proposals that work to unthink and counter-actualize educational futures-as-usual.  

In Postmodern Dilemmas: Outrageous Essays in Art&Art Education and Pun(k) Deconstruction: Experifigural Writings in Art&Art Education, jan jagodzinski presents a series of essays covering a timespan of approximately ten years. These essays chart the theory and practice of art&art education as it relates to issues of postmodernity and poststructuralism concerning representation, identity politics, consumerism, postmodern architecture, ecology, phallocentrism of the artistic canon, pluriculturalism, media and technology, and AIDS.
As a former editor of The Journal of Social Theory in Art Education and a founding member for the Caucus on Social Theory in Art Education, the author attempts to deconstruct the current art education paradigm, which is largely based on modernist tenets, and to reorient art education practice to social issues as developed in both media education and cultural studies. Part of the intent in these two volumes is to undertake a sustained critique of the 1982 Art in the Mainstream (A.I.M.) statement, which continues to be considered as the core value for art education. The distinct intention of this critique is to put forward a new value base for art&art education in these postmodern times.
Many of the essays raise the need to be attentive to sex/gender issues in art&art education and the need to read the artistic discourse "otherwise." There is a sustained critique of the art programs developed by the Getty Center for the Arts, whose arts curriculum presents the paradigm case of late modernist thinking. Some essays are written in a provocative form that tries to accommodate such content. This is particularly the case in Pun(k) Deconstruction, where architectural discourse is deconstructed, and which includes an "artistic performance" given by the author in 1987.
This singular set of volumes combines scholarship in the areas of gender studies, aesthetics, art history, art education, poststructuralism, and cultural studies in a unique blend of theory and practice for rethinking the field of art education.

This book problematizes the role of education in an increasingly mediatized world through the lenses of creativity, new media, and consumerism. At the core of the issue, the author argues, creativity in art education is being co-opted to serve the purposes of current economic trends towards designer capitalism. Using an East meets West approach, jagodzinski draws on Deleuze and Guattarian philosophy to explore visual and popular culture in Korean society, addressing the tensions that exist between designer education and art that explores the human condition. In doing so, he challenges art educators to envision a new paradigm for education which questions established media ontologies and incorporates new ways to confront the crisis of the Anthropocene.

This volume weaves together a variety of perspectives aimed at confronting a spectrum of ethico-political global challenges arising in the Anthropocene which affect the future of life on planet earth. In this book, the authors offer a multi-faceted approach to address the consequences of its imaginary and projective directions. The chapters span the disciplines of political economy, cybernetics, environmentalism, bio-science, psychoanalysis, bioacoustics, documentary film, installation art, geoperformativity, and glitch aesthetics. The first section attempts to flesh out new aspects of current debates. Questions over the Capitaloscene are explored via conflations of class and climate, revisiting the eco-Marxist analysis of capitalism, and the financial system that thrives on debt. The second section explores the imaginary narratives that raise questions regarding non-human involvement. The third section addresses 'geoartisty,' the counter artistic responses to the speculariztion of climate disasters, questioning eco-documentaries, and what a post-anthropocentric art might look like. The last section addresses the pedagogical response to the Anthropocene.

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Ranciere, Virilio, Ziarek, and i ek to explore contemporary art (post-Situationism) and visual cultural education. jagodzinski develops the concept of an 'avant-garde without authority, ' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art.

Youth Fantasies is a collection of studies conducted in cross-cultural collaboration over the past ten years that theorizes “youth fantasy” as manifested through the media of TV, film, and computer games. The collection includes case studies of “X-Files” fans, the influence of computer games and the “Lara Croft” phenomenon, and the reception of western television by Tanzanian youth. This book is a much needed reconciliation between cultural studies and Lacanian psychoanalysis, and highlights why Lacan is important to note when exploring youth fantasy and interest in the media, especially in shows like “X-Files”.

This book provides a thorough application of theoretical ideas from Deleuze and Guattari to a series of examples drawn from contemporary film and new media arts. Chapters demonstrate examples of how to do schizoanalysis in philosophically informed cinema studies, new media, and arts based education. Schizoanalysis, as proposed by Deleuze and Guattari in distinction to Lacanian psychoanalysis, provides an imaginary basis to address the precarity of the contemporary world order: from the growing populism with its authoritarian fascist tendencies to the growing concerns regarding climate change within the Anthropocene. Part I of this book initiates this understanding through cinematic examples. Part II calls for a schizoanalytic pedagogical imagination, which is needed to provide insight into the structures of desire as they circulate in media, especially videogames, and the tensions between analogue and digital technological manifestations. Such pedagogy enables an understanding of the 'new materialism' where nonhuman and inhuman (AI) agencies are taken into account. To this end schizoanalytic pedagogy calls for a 'new earth' of transformed values and relationships.

This book brings together a collection of multi-disciplinary voices to discuss, debate, and devise a series of ahuman pedagogical proposals that aim to address the challenging ecological, political, social, economic, and aesthetic milieu within which education is situated today. Attending to contemporary calls to decenter all-too-human educational research and practice, while also coming to terms with the limits and inheritances through which such calls are made possible in the first place, this book aims to interrogate, but also invent, what we are calling an ahuman pedagogy. Organized in three main sections - Conjuring an Ahuman Pedagogy, Machinic Re/distributions, and Non-pedagogies for Unthought Futures - this multi-disciplinary experiment in ahuman pedagogies for the age of the Anthropocene offers an experimental - albeit always speculative and incomplete - series of pedagogical proposals that work to unthink and counter-actualize educational futures-as-usual.

This edited book gathers seven established art educators-educator artists who address art education from the philosophical position of Deleuze and Guattari. This book raises questions as to where the future of art and its education might be heading if the focus on art was to be repositioned along Deleuze and Guattari's philosophy of immanence. The chapters are speculative as they query what is 'thinking' in the art process. There is an attempt to project other forms of what art can 'do,' and the curriculum that can emerge when a student-centered problematic is explored along such lines.

In the mid-1980s, film director Marco Bellocchio and renegade psychoanalyst Massimo Fagioli cowrote "The Devil in the Flesh," a politically and sexually charged film illustrating some of Fagioli's controversial theories. Echoing the anti-Lacanian sentiment popularized by Gilles Deleuze, the film is perhaps best remembered for a scene in which the character Andrea misreads a section of the famous Greek tragedy" Antigone." But this scene has itself been frequently misread, opening up the text to questions of feminism, politics, and the representation of Antigone--a figure frequently used and abused in feminist politics. Displaying considerable analytic depth, "Misreading Postmodern Antigone" considers these divergent readings and what they have to tell us about contemporary society.

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Ranciere, Virilio, Ziarek, and Zižek to explore contemporary art (post-Situationism) and visual cultural education. jagodzinski develops the concept of an 'avant-garde without authority, ' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art.