Table Of ContentP O S T H U M A N
P E DAG O G I E S
I N P R AC T I C E
Arts based Approaches for
Developing Participatory Futures
Annouchka Bayley
Posthuman Pedagogies in Practice
Annouchka Bayley
Posthuman
Pedagogies in
Practice
Arts based Approaches for
Developing Participatory Futures
Annouchka Bayley
University of Warwick
Coventry, UK
ISBN 978-3-319-70977-2 ISBN 978-3-319-70978-9 (eBook)
https://doi.org/10.1007/978-3-319-70978-9
Library of Congress Control Number: 2017964078
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Preface and Acknowledgements
How can a person speak of beginnings? What kind of cuts in time, out of
time, cuts that are timely, poorly timed or that provide time-out from the
endless flow of space, time and matter, can respond to the idea of a pref-
ace or an acknowledgement? As a writer, performer, researcher-artist,
practice-as-researcher, friend, sister, daughter, occupant, I find myself dif-
fracted through multiple prisms of difference. And that’s before we try to
take a view from within, where I become part chair, part computer, part
dust, part chemical compound, sonorous, lively, moving forever within
and without as part of the ebb and flow of things.
This book is about giving voice to such entanglements of matter and
meaning, and how knowledge and education can be diffracted differently
through practice, through performance, through arts-thinking to enhance its
relevance for the kinds of complexities the 21st century presents many of us
with. In writing this preface and offering my acknowledgements I engage
with ghosts – ghosts of the past and future for whom this work is a response-
to and with. I am reliably told that the Old English root of the word ‘acknowl-
edge’ is ‘oncnawan’ which means to ‘come to recognise’. This act of making a
cut – to come to recognise persons and phenomena who have helped con-
struct this book – requires that the arbitrariness of what otherwise might be
a casual endeavour. The entangled agents and actants are so vast, so alive, and
each in their own way, has contributed to this diffraction that has come, in
my community, to be affectionately called ‘Annouchka’s crazy book-thing’.
v
vi Preface and Acknowledgements
As such thanks goes to the following actants, alive or dead, square or
round, fleshy, present, absent, dissuading, stimulating, kind: the alive-
absent but ever-present ghost of Prof. Karen Barad whose works filled my
hours with wonder and astonishment and in the direction of whose criti-
cal tradition this book points its tiny feet towards; to Prof. Donna
Haraway who became digitally present in my life via the innumerable
watches of YouTube videos – her pre-recorded, ever evolving talks opened
corridors in my thinking that led me to this point; to Prof. Davide
Nicolini and Dr. Nicolas Whybrow whose strangest mixture of raw inspi-
ration and cattiness, support and abandon, encouragement and criticism
led to the creation of the seed of this book via the initial undertaking of
a doctoral thesis. Like many student/supervisory relationships, the ram-
bunctious, joyous and painful path they made and unmade with me, has
made for the germination of so many of these ideas; to ‘Brian’, the non-
human actant with whom I spent most of my writing hours – the over-
grown bush outside the window where I work, whose receptors no doubt
‘heard’ me reading fragments of words out loud and is now –perhaps –
the leading local foliage on all things Posthuman….
To my clown teacher, Giovanni Fusetti, who helped me find my voice
as a performer, artist, activist and teacher. His work still haunts the spirit
of my teaching practice and my life long love of coming-to-be-with per-
formative modes of differencing. Thanks must go to Simon Weightman,
who first let me into to university when no one else would and filled my
younger self with the mystical roots of Buddhism, Sufism and Indian
religions, you continue to be a wonderful teacher, mentor and friend
across the years. Lastly to my community of friends who have lived
through the writing of this book with me, with wine, song and laughter,
and to my beautiful family in all their myriad diffractions.
In terms of the production of the book, I would like to gratefully
thank, Andrew, Eleanor and Laura at Palgrave Macmillan for all their
work and belief; Dr. Nicholas Monk at the Institute of Advanced Teaching
and Learning, who funded me twice and has always believed in me; and
my dear brother, Amir Bayley for helping to create graphics for the previ-
ously barely legible ‘maps’ that form the last chapter. I would also like to
thank all my students at both Warwick and BSA for their energy, com-
mitment and for all the insights they gave me into how teaching and
Preface and Acknowledgemen ts vii
learning should and could be re-imagined in Higher Education. It is for
you that I write this book.
Coventry, UK Annouchka Bayley
Contents
1 Introduction 1
Part I Entangling Concepts with Practices 17
2 21st Century Teaching and Learning 19
3 Deterritorialisation, Diffraction and Transdisciplinarity:
Investigating Arts-Based Approaches for Complex
Pedagogies 51
Part II Entangling Practices with Concepts 91
4 First Experiments: Deterritorialising Critical Issues in Law
& Management, a Compulsory Undergraduate Module 93
5 Entanglements of City, Self and Subject: Posthuman
and Performance-Based Approaches to Doctoral Learning
in Venice 137
ix
x Contents
6 The Copenhagen Project: Spectres of Learning
and Participation in the Course That Was/n’t 187
7 Conclusions/Beginnings 231
Bibliography 247
Index 255
List of Figures
Fig. 5.1 What does the case look like on the page?/Bayley
& Sibley 179
Fig. 5.2 Identifying narrative links/Bayley & Sibley 180
Fig. 5.3 Mapping narrative links/Bayley & Sibley 181
Fig. 6.1 Copenhagen Project 1/Bayley 206
Fig. 6.2 Copenhagen Project 2/Bayley 207
Fig. 6.3 Copenhagen Project 3/Bayley 208
Fig. 6.4 Copenhagen Project 4/Bayley 209
Fig. 6.5 Copenhagen Project 5/Bayley 210
Fig. 6.6 Copenhagen Project 6/Bayley 211
Fig. 6.7 Copenhagen Project 7/Bayley 212
Fig. 6.8 Copenhagen Project 8/Bayley 213
Fig. 6.9 Copenhagen Project 9/Bayley 214
Fig. 6.10 Copenhagen Project 10/Bayley 215
Fig. 6.11 Copenhagen Project 11/Bayley 216
Fig. 6.12 Copenhagen Project 12/Bayley 217
Fig. 6.13 Copenhagen Project 13/Bayley 218
Fig. 6.14 Copenhagen Project 15/Bayley 219
Fig. 6.15 Copenhagen Project 17/Bayley 220
Fig. 6.16 Copenhagen Project 19/Bayley 221
Fig. 6.17 Copenhagen Project 20/Bayley 222
Fig. 7.1 Map 1/Bayley and Bayley 238
Fig. 7.2 Map 2/Bayley and Bayley 241
Fig. 7.3 Map 3/Bayley and Bayley 243
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