ZoekresultatenZoekresultaten
Volg ons op
Volg ons op
Types
0Instelling
24Bestandstype
9Taal
5Publicatiejaar
12Thema's
14Producttype
14Publicaties met bestand / URL
2In de allereerste aflevering van De Flexpert Podcast verwelkomt Lonneke Frie Theo Bakker. Theo vertelt over zijn loopbaan die begon met een studie theologie. Na verschillende carrièrestappen en een promotieonderzoek werkt Theo nu als Lector Learning Technology and Analytics bij De Haagse Hogeschool. Ontdek hoe Theo's achtergrond als theoloog de basis vormde voor zijn latere carrièrestappen en hoe hij flexibiliteit en aanpassingsvermogen heeft ingezet om zijn expertise continu te vernieuwen. Naar aanleiding van de voorbeelden in deze aflevering, geeft Lonneke vanuit haar onderzoek tips over hoe jij je flexpertise kunt ontwikkelen, ongeacht jouw vakgebied.
LINK
This six-year study, consisting of four sub-investigations (one conceptual, three empirical), describes how subjectifying education with positioning of the body and embodiment of students in the educational practice requires teacher artistry, and forms by which teachers can stimulate learners' desire to become an embodied person in the world. The purpose of this research is to reconsider subjectification as the main target domain of education from the perspective of embodied cognition. The main research question is: How can Dutch teachers develop their artistry to create an inclusive educational practice that encourages their learners (in Dutch (v)mbo and higher education) to become embodied persons situated in the world? Since schools and classrooms are mini societies, there are many opportunities in these settings for learners' encounters with the world and their micro sociocultural worlds. Qualities like feeling what is happening inside oneself, expression of emotions, reflection and reflexivity, being able to be where the other is, having meaningful relationships with teachers and other learners, and engaging with the world are important for learners' wellbeing (De Haan, 2021; Zembylas, 2007; Zheng, 2022). The sort of curriculum that would pedagogically foster the development of these qualities in education is more likely to have the learner's body (or better, their embodied mind, Varela et al., 1992) at a central position in teaching and learning, thus enhancing opportunities for emotional and bodily expression (Zembylas, 2007). An overarching conclusion follows to answer the main research question. Teaching is not implementing a method or proven intervention 'that works' in the classroom, nor is it following a recipe (Biesta, in publication). It is both craft (technē) and art (including practical knowledge, phronesis) (Eisner, 2002). Through constant attention to embodied perception in the curriculum and evoking aesthetic experiences (Stenhouse, 1988), through 'making', working with 'experientiality' (Caracciolo, 2019) and 'doing the arts', giving shape to the environment (Alibali & Nathan, 2018), vitality, emotions, uncertainties and unpredictable activities and outcomes (Eisner, 1985), teachers develop their artistry. It is important for teachers to come together, add knowledge to each other and make education together. They have a responsibility to create inclusive spaces in the classroom for plurality and possible transformation. There are at least three current barriers in Dutch education that make it difficult for teachers to create inclusive spaces in the classroom: the Dutch 'measurement culture', the gap between academic "for the head" and vocational "for the hand" education, and Cartesian dualism as the paradigm underlying education. These three barriers do not disappear when teachers 'make' and 'do arts' with their learners' Artistic principles, however, in addition to recognizing the embodiment of learners, spark the joy of improvisation and experimentation and inspire teachers to further develop their teacher artistry. Schools then become spaces where teachers approach their learners as embodied persons who are in the world, rather than as individuals with separate brains, and bodies that are not being addressed. This is an important step toward embodied subjectification in education.
LINK
This article explores how schools can function as a pedagogical in-between space, or a pedagogical inter-space, and how lecturers can act professionally within this space, of which they themselves are also a part. Met een samenvatting in het Nederlands: De school als een ‘pedagogische tussenruimte’.
DOCUMENT
Over the last five years, I have found myself circling around four key concepts: Performance. Philosophy. Animals. And Equality. And I have found myself thinking in and with circles. It began with the various references to circles we can find in the philosophy of Henri Bergson - in his idea of the field of attention as the distance between the two points of a compass (Bergson 2014); in his imagining of an expansive centrifugal movement that might turn a closed society into an open one (Bergson 2002); and in the role he gives to embodied practice to ‘break the circle’ of the given in which rationality or only an intellectualised notion of what counts as thought traps us (Bergson 1911). I found the circle again in the so-called ‘non-philosophy’ of Francois Laruelle (2011) – in his critique of the vicious circles and circular arguments of standard philosophies of art - including dance. But I also found the circle of anthropocentrism. I found the circle at the circus - a circle that calls upon us to consider all that goes on behind the scenes in order to produce performing animals anthropocentrically. I began to consider what role performance could play in displacing the human from the centre of values through a process of animalisation. Consider philosophy an expanding circle. Consider performance an expanding circle. The etymology of the English word centre (n.) – comes from the Latin centrum, originally the fixed point of the two points of a drafting compass, and from the Greek kentron meaning “sharp point, goad, sting of a wasp”. The centre is a middle point of a circle: the point around which something revolves. But the centre is also pointed and sharp – that which goads moving bodies in a particular direction. The goad is a traditional farming implement: a spiked stick used to spur or guide livestock; for instance, to round up cattle. The elephant goad or bullhook, is a tool employed in the training of elephants. It consists of a metal hook attached to a handle. The Greeks, we are told, used the phrase “kicking against the goad” as a proverb to teach us of the foolishness of resistance against a powerful authority: those who place themselves at the centre. The underlying ontology that informs all this work can be summed up in the words of Octavia Butler: All that you touch. You Change. All that you Change Changes you. The only lasting truth Is Change. (To which we might add the footnote that truth itself changes) (Butler 1993: 3). How to think alongside dance or movement as change - understood via Bergson (amongst others) as alteration or qualitative becoming (rather than spatial transition); how to think alongside the world as movement, as change; how to dance the thought of change as a changing thought…? These are my recurring questions. The questions that keep circling back to me and through me. In this text, I will rehearse a thinking that dances the relations between performance, philosophy, animals and equality according to the figure of the circle. To think with dance and dance with thought in relation to nonhuman animals and the question of equality – understood as an ontological, epistemological, aesthetic, political and ethical question. Equality (and inequality) is a matter of how to think the fundamental nature of and relations between dance, thought, and interspecies being as our so-called ‘objects’ of enquiry. Especially within philosophies of immanence – there is an appeal to the equality of the Real, to an evenness or levelling of what is beyond hierarchized binaries between mind and body; matter and spirit; this world and some transcendent realm. Equality is a question for knowledge itself: the critique of authority and the pursuit of equality within knowledge-production; and to the hierarchies between ways of knowing. Equality is an issue for arts and more widely for aesthetic experience: who is making art for whom and from what point of view, whose aesthetic interests are taken into account and how is experience ordered to centre and give priority to some over others. Equality is linked to paying attention, to how attention is distributed and how it can be practiced in more or less exclusive and expansive ways. And of course, equality is a fundamental subject for politics and ethics. Let’s do this dance together. Step by step. Step 1: from the application of philosophy to the Real, to the emergence of philosophy from it. Step 2: from the application of philosophy to performance, to the practice of a performance philosophy. Step 3: from the judgment of animal capabilities according to human standards for what counts as ‘proper’ performance and philosophy to ‘animal performance philosophy’ as the animalization of performance and philosophy. Step 4: from the application of a universalized notion of the standard human to denigrate both human and nonhuman animals to a solidarity based on attending to the shared logic of speciesism, racism and ableism. Step 5: Towards radical equality as a performative praxis of thought. And yet, we cannot move towards equality ‘step by step’. We cannot move towards equality step by step because there can be no step-by-step guide to what it means to practice it in a given context. ‘Openness is a necessarily vague formulation that requires continual creativity to fill out its content in any one situation; one should see it as a moving position with no essence’ (Mullarkey 2012: 70). And we cannot move towards equality step by step, because it’s all or nothing. As Etienne Balibar says: Equality in fact cannot be limited. Once some X’s (“men”) are not equal, the predicate of equality can no longer be applied to anyone, for all those to whom it is supposed to be applicable are in fact “superior”, “dominant”, “privileged”, etc. Enjoyment of the equality of rights cannot spread step by step, beginning with two individuals and gradually extending to all: it must immediately concern the universality of individuals…This explains… the antinomy of equality and society for, even when it is not defined in “cultural”. “national”, or “historical” terms, a society is necessarily a society, defined by some particularity, by some exclusion, if only by a name (Balibar 2016: np). Equality will always remain exclusive if it moves step by step – expanding the circle of equality or ethical consideration to previously ostracized groups. Such a dance of thought also fails to understand the actuality of intersectional identities and interdependence. And for sure we will not reach radical equality with reasoning or intellectual exertion. As John Mullarkey suggests: ‘We can only understand equality through a performative thought, a movement or vital action rather than an intellectualist representation of it’ (Mullarkey 2012: 63). To which I might add: We do not need a philosophy of radical equality, we need to practice radical equality as a performance philosophy. Or again, the only way we can develop our understanding of radical equality is through its performative praxis. This is not going to be easy or simple. We are going to make mistakes, we are going to fall flat on our faces. Perhaps, following choreographer Amanda Piña, we should not call this a performance but a rehearsal (Piña 2017)1). So, there can be circles we want to dance as well as those we want to escape. But for the most part here our focus will be on the movements and practices that break or escape circles – whether in terms of methods that allow us to break out of the circularities of traditional philosophical analysis; or the practices that break open the circle of the “we” who are equal as always constituted through exclusion. In contrast, what we are speculatively choreographing – alongside Bergson and performance - is a movement of opening to openness (Mullarkey 2012: 69)2). In this particular rehearsal of work-in-progress thinking, my concern is with intersectional, interspecies performative praxis as a means to break out of the circularity of thought when it is reduced to a universalizing, anthropocentric and ableist intellectualism with the white, male, non-disabled subject of reason as the centre of values. My larger project is concerned with how the relationships between performance and philosophy, humans and nonhuman animals are performatively enacted and with how we can move towards what we might describe as a ‘radical equality in thought’ rather than remaining trapped in the circularity of a philosophy of performance, an anthropocentric model of performance, and a universalizing approach to animal performance philosophy. This text is in three parts.
DOCUMENT
In this first English-spoken episode of The Flexpert Podcast, Lonneke Frie interviews her guest Rik Jacobs. They discuss Rik’s career in the light of the Flexpertise theory, to identify what makes Rik a true Flexpert. Rik started his career selling air conditioning and refrigeration units all across Europe. Now, he works as a consultant in 3D printing for the dental industry. Throughout his career, Rik has not been scared to switch jobs and to start positions in new fields. Even though oftentimes Rik started out having no knowledge of these new fields, he was still able to apply his expertise in connecting business critical experts and the market. Lonneke and Rik talk about creating innovation and how it can be important to have a vision for where the market should move towards in order to act accordingly. They also talk about the value of making yourself known, when you develop new expertise, in order to generate business opportunities and create career opportunities for yourself.
LINK
De discussie over zelfdenkende technologie en de impact die dit heeft op ons dagelijkse leven, kent veel gezichten. Deze technologische ontwikkelingen brengen daarbij nieuwe, ethische vraagstukken met zich mee voor mensen, bedrijven en overheden. Dit whitepaper door Bart Wernaart biedt aanknopingspunten voor het debat rondom dit onderwerp en gebruikt theoretische achtergronden om hier dieper op in te kunnen gaan.
LINK
This article explores how rabbis, directors and members of Amsterdam’s Jewish religious communities view the heritagisation of Jewish religious life by analysing how they interact with Amsterdam’s main synagogues and their collections of ceremonial objects. It focuses on the synagogues of the Jewish Cultural Quarter – the Portuguese Synagogue with its accompanying Sephardi community, and the former Ashkenazi synagogue complex, now the Jewish Museum. From a dynamic heritage perspective, this heterogeneous constellation raises questions about how and why heritage making occurs here. Following a Constructivist Grounded Theory methodology, concurrent data collection and analysis let emerge interrelated conceptual categories that explain how communities interact with these functioning and musealised synagogues and objects: Embodying the transmission of tradition; Instrumentalising the heritage of Jewish religious life; Transforming the beauty of holiness; and Assembling in heritagised synagogues. These categories intersect in the core category of the Jewish religious heritage continuum, which this article presents as a dynamic embodiment of remembering, reconnection, and revival of Jewish tradition. For the interviewees, these performances, and the deployment of functioning and musealised synagogues and collections, form a cultural apparatus that marks their present, diverse and living material culture and grafts a Jewish future onto a Jewish past.
LINK
Met alle maatschappelijke weerstand tegen ‘verdozing’ van het Nederlandse landschap, verwacht men een halt op de ontwikkeling van logistiek vastgoed. Echter, het opslagvolume voor stilstaande goederen blijft toenemen en de vraag naar de redelijkheid daarvan dient zich op. Aangezien deze - min of meer autonome - systeemontwikkeling exact volgens de techologiefilosofie van Jacques Ellul verloopt, wordt zijn theorie gebruikt om het publieke debat over dit thema te analyseren. Hieruit blijkt dat de argumenten tégen grote distributiecentra met name een morele toon hebben, terwijl de argumenten vóór vooral een technische (efficiëntie-)logica volgen. Daarmee wordt het debat niet in gelijke termen gevoerd. De conclusie van dit artikel is dat de redelijkheid van 'verdozing' meer over ethiek dan over efficiëntie gaat. Waaruit een nadrukkelijk advies voor de logistieke wereld volgt om diepgaand onderzoek te doen naar de morele waarden die het nastreeft.
MULTIFILE
How football supporter organisations could be the place to start thinking about how to address tension between commemorators of the Shoah (Holocaust) and commemorators of the transatlantic slavery past, in the Netherlands.
LINK
We, Rajni and Laura, have been writing letters to each other for several years including in the context of collaboration on a large research project concerned with interspecies relations and the notion of "radical equality". For Listening across difference: letters of love/questions of radical equality we arranged a series of writing sessions where we wrote letters to each other in relation to the words 'radical', 'equality' and 'radical equality'. We wrote at the same time, but different places. We did not exchange or read each other's letters until the end. The letter-writing has enabled us to reflect on aspects of our evolving (work/life) processes which in many ways feel like the core of the "work" we have one together, but that often go unnoticed by listeners and readers within the more presentational aspects of the projects. In particular, the ways in which power structures are negotiated with care and awareness between us. The choice of the form of an exchange of letters was partly inspired by Royona Mitra and Broderick D.V. Chow's The UCLA Letters: On Dismantling Whiteness in the Academy (2019). Like them, we are interested in how the process of letter writing enables a kind of dance of thinking between the conceptual and the personal. But we listen across difference differently. As two scholars of colour, Mitra and Chow's letters present their shared and diverging perspectives on how to address the Whiteness of the UK academy. As a non-binary artist of colour and as a white cis-woman researcher, our letters try to feel their way into an intimate and honest dialogue across difference.
DOCUMENT
