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Assemblage drawings as talking points: Deleuze, posthumans and climate-activist teachers

Published online by Cambridge University Press:  01 December 2022

Thomas Everth*
Affiliation:
Te Kura Toi Tangata School of Education, University of Waikato, Hamilton, New Zealand
Laura Gurney
Affiliation:
Te Kura Toi Tangata School of Education, University of Waikato, Hamilton, New Zealand
Chris Eames
Affiliation:
Te Kura Toi Tangata School of Education, University of Waikato, Hamilton, New Zealand
*
*Corresponding author. E-mail: thomas.everth@gmail.com
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Abstract

In this paper, we employ Deleuzian philosophy to explore the complex challenges confronting teachers and education systems posed by the climate emergency and the implications of the resulting posthumanist turn. Self-identified climate-activist teachers working in schools in Aotearoa New Zealand were asked to draw Deleuzian assemblages of their educational realities and of themselves while contemplating the climate emergency. Their thought-provoking drawings were used as semiotic artefacts during unstructured Zoom interviews, leading to rich conversations. Through this process, the drawings channel affect within the research assemblage, entangling the reader actively into the research process. Insights gained from the participants problematise the perspectives of teachers in response to the climate emergency and lead us to conceptualise the potential of teachers as Deleuze’s nomadic change makers toward posthuman futures.

Information

Type
Article
Creative Commons
Creative Common License - CCCreative Common License - BY
This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (https://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited.
Copyright
© The Author(s), 2022. Published by Cambridge University Press
Figure 0

Figure 1. Jacob’s drawing of the arboreous structure of science education.

Figure 1

Figure 2. Brent’s posthuman assemblage of himself.