Abstract

Becoming attentive to art practices in terms of what they can do rather than what they are, the writing generates a more tentative-artful engagement with how sketchbooking processes engender more response-able relationship with the world. Exploring the relation between sensation and thought, this exemplification of the speculative potential of force and form, emerges as a powerful resistance to the constraints of the neoliberal education system. Practicing art as immanent doing, Erin Manning’s theory of incipient movement works to develop concepts, such as research-creation, event-time, artfulness and thought in motion, which find expression through the mundanities and ordinary occurrence of the everyday. By refusing to engage in the disabling constraints of formal pedagogical practices, prescribed by the systemic mechanism of institutional bodies, the process of sketchbooking offers engagement with education research and pedagogy, to reimagining who and what can be valued in Secondary and Further Education; suggesting how practicing art artfully can trouble and challenge the colonial structure that continue to marginalise and exclude. In order to avoid the formalising structure of writing with chapters, the writing instead pleats together a processual web of real people, fictional characters, unutterable discourses, as well as ordinary objects of the everyday, that educate and teach us what a collective sensing of learning might look like. A learning, not confined or reduced to curricular outcomes, but learning which seeks to enliven new modes of activity, blurring the lines between thinking and doing, and thereby, offering potential that resists the dominate value systems imposed by formal education.

Document Type

Thesis

Publication Date

2025

Embargo Period

2025-02-18

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