As schools and universities worldwide tentatively move beyond an initial emergency response to the Covid-19 pandemic, the prospect of socially-distanced learning spaces prompts us to ask how we can maintain good educational relationships. Supporting students in a time of far-reaching changes means acknowledging that certain normalised practices, and the conceptual frameworks embedded within them, have come under significant duress. Resisting the urge to rush to quick solutions and seeing our common vulnerability and uncertainty as an opportunity for growth, we, a multidisciplinary teacher education faculty, chose to pause and use this moment of recalibration to develop a new set of orienting priorities for teacher educators. We reflect on dynamics of care, control and power inherent in educational relationships and demonstrate how relatedness in education expands beyond the human and the local towards fostering a common sense of global and ecological responsibility.

The structures of (q5-C5Me5),Zr(0H)(CI) (1) and ( T ~-C ~M ~~) ~Z ~( O H ) ~(2) have been determined by X-ray diffraction; location of all hydrogen atoms in (1) has established the presence of significant intramolecular non-bonding contacts and (2) is the first early transition metal dihydroxo complex to be structurally characterized.

A common move in the study of creativity and performativity is to present the former as an antidote to the latter. Might we, therefore, see work on creativity in education as heralding an era of post-performativity? In this paper I argue that the portrayal of performativity in the literature on creativity presents an overly simplistic (vulgar?) understanding of what the former involves. In this literature, performativity is used to represent the tightening control over curriculum and pedagogy to meet externally imposed targets. Though this represents a 'manifestation' of performativity, it is not constitutive of it. During this paper, I contend that a vulgar or partial understanding of performativity is what leads writers to view creativity as its antidote. To demonstrate what is at stake here, I draw on Lyotard's understanding of performativity. For Lyotard, performativity is a narrative in which effectiveness has usurped Enlightenment narratives of truth and justice and ultimately comes to shape our understanding of the world. During the paper, I try to show that the literature on creativity in education focuses on effectiveness, jettisons concerns with 'truth' and partakes in the nihilism of performativity.

This paper explores Stanley Cavell's notion of 'passionate utterance', which acts as an extension of/departure from (we might read it as both) J. L. Austin's theory of the performative. Cavell argues that Austin having made the revolutionary discovery that truth claims in language are bound up with how words perform, then gets bogged by convention when discussing what is done 'by' words. In failing to account for the less predictable, unconventional aspects of language, the latter therefore washes his hands of the expressive passionate aspects of speech. To ignore such aspects is to ignore an important moral dimension of language. Finally, I bring Cavell's approach to bear on the epistemic criterion, which Michael Hand applies in his paper 'Should We Teach Homosexuality as a Controversial Issue?'. I suggest that Hand's approach, by failing to account for the linguistic dimension of truth and the expressive quality that accompanies this dimension, presents an overly narrow conception of moral education

During this article, I look at three images of thought which feature in Deleuze and Guattari's A Thousand Plateaus and consider their relevance to contemporary pedagogy. Deleuze and Guattari begin by discussing tree-like thought, which involves an insular depiction of the world. I suggest that the performative apparatus, which structures contemporary pedagogy in the comprehensive school, is also tree-like. Deleuze and Guattari's second image of thought is the fascicular root. Here the principle root is aborted leading to a multiplicity, which flows from it. With fascicular thought, the unity, which is aborted in the object, is returned to in the subject who gains control of multiplicities. In this section I provide a reading of a Classics lesson portrayed in The Secret History by Donna Tartt and go on to focus on Ronald Barnett's contribution to a debate with Paul Standish, which features in The Blackwell Guide to the Philosophy of Education. In the third section of the article, I consider Deleuze and Guattari's third image of thought-the rhizome. Rhizomes grow by a process of cloning or lateral spreading; they do not have the central trunk of the tree, with roots and branches extending outwards from this. At the end of this section, I look at two Classics lessons that represent tree-like and rhizomatic pedagogies in turn. I attempt to enrich this discussion by providing a reading of a scene from The History Boys

The aim of this paper is to bring critical attention to the ways in which notions of 'success' and 'failure' are applied to teaching and learning in schools in England and Wales. The main philosophical text that guides the discussion is Derrida's 'Signature event context', which contains a reading of J.L. Austin's theory of the performative utterance. Derrida finds much to admire in Austin's philosophising. However, he argues that Austin's treatment of context misses something important about how things are done with words. Derrida maintains that, having shown how truth claims are bound up with performative concerns, Austin takes a step backwards by fixating on external contextual factors that must be in place for the performative utterance to be happy-for it to 'succeed' in doing what the speaker intends it to do. This ignores the iterability of language and the ways in which words are ultimately bound neither by the intentions of the speaker, nor by any other aspect of the environment in which the utterance takes place. The current thinking in regards to successful teaching and learning invites a comparison with Austin's treatment of context-for a lesson to be successful, a set of contextual factors must be put in place. In this paper, I argue that treating teaching and learning in these terms represents an overdetermined understanding of 'success' and 'failure' that sees language as something to be tamed by context. Once we recognise that words cannot always or necessarily be brought under control then this will open the door to creative ways of thinking about teaching and language.

This paper considers the claims representatives of the ‘creativity movement’ make in regards to change and the future. This will particularly focus on the role that the arts are supposed to play in responding to industrial imperatives for the 21stcentury. It is argued that the compressed vision of the future (and past) offered by creativity experts succumbs to the nihilism so often described by Nietzsche. The second part of the paper draws on Stanley Cavell's chapter ‘Philosophy the Day After Tomorrow’ (from a book with the same name) to consider a future oriented arts education that may not fall victim to nihilism

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