Guillermo Marini

Through a phenomenological lens, this article proposes the notion of the teacher as choreographer of pedagogical atmospheres. While contemporary educational discourse often privileges learning over teaching—what Biesta terms ‘learnification’—this paper shifts focus to the embodied experience of teaching, arguing that the teacher’s body constitutes the ‘zero point’ of pedagogical action. Drawing on insights from Husserl and Merleau-Ponty, and contemporary theories of atmosphere by Böhme and Bollnow, the paper explores how teachers choreograph experience through their bodies. The notion of choreography—understood in its original Greek sense as a choral and emergent process—illuminates how teachers perceive and shape atmospheres through gestures, movements, and spatial configurations. Moreover, the paper proposes strategies for choreographic planning, which addresses the paradoxical nature of habitual and sedimented bodily routines in schooling, and emphasizes the perceptual and productive dimensions of atmospheres. By situating the teacher’s body at the heart of educational practice, this article opens new avenues for research on embodied teaching, atmospheric design, and the ethical-aesthetic dimensions of pedagogy in contemporary schooling.

This article proposes the notion of “aesthetics of school care” as a conceptual and methodological tool for exploring how care is lived within schools. First, bridging the ethics of care and everyday aesthetics, the article argues that school care is not only an ethical responsibility but also an embodied, sensory, and relational practice shaped by spatial, material, and atmospheric conditions. Through an interdisciplinary dialogue between school aesthetics, architecture, and public health, the article examines how pedagogical practices, school design, and adolescent health orientations converge to configure students’ experiences of care. Second, the article operationalizes this approach into a structured analytical guideline that identifies key dimensions of care—such as spatial conditions, adaptability of spaces, physical learning environment, emotional atmosphere, and sense of belonging—across classrooms, cafeterias, and courtyards. To illustrate the applicability of this framework, a case study from a Chilean public high school is presented, showing how everyday material decisions, environments, and objects mediate caring relations. The case highlights both the constraints and potentials of existing school spaces to express care in participatory and context-sensitive ways. In conclusion, the article argues that care in schools is not an accidental matter but is a decisive condition for cultivating attention, belonging, and mutual recognition. What is more, by situating care within the sensory and intersubjective dynamics of school life, the article contributes to broader discussions on education and calls for a reconceptualization of schools as venues where the capacity to care and be cared for is aesthetically formed.

This paper explores sensory perception in classrooms, and the relationship between classrooms and nature in the context of the COVID-19 pandemic. First, it argues that this crisis provides a unique opportunity to rethink how we perceive classrooms and their connection with nature. Second, the paper describes what students and teachers usually see, hear, touch, smell, and taste in classrooms, and identifies unusual or overlooked sensory phenomena that COVID-19 has brought to our attention. Third, the paper discusses three types of classrooms (traditional, innovative learning environment, open-air) and how they model our perception and conceptualization of nature. The paper concludes by emphasizing the relevance of everyday aesthetics in education, what stands as an opportunity to sensorially enrich pedagogy, and to approach classrooms as proper dwellings for both humans and other-than-human beings.

This paper explores sensory perception in classrooms, and the relationship between classrooms and nature in the context of the COVID-19 pandemic. First, it argues that this crisis provides a unique opportunity to rethink how we perceive classrooms and their connection with nature. Second, the paper describes what students and teachers usually see, hear, touch, smell, and taste in classrooms, and identifies unusual or overlooked sensory phenomena that COVID-19 has brought to our attention. Third, the paper discusses three types of classrooms (traditional, innovative learning environment, open-air) and how they model our perception and conceptualization of nature. The paper concludes by emphasizing the relevance of everyday aesthetics in education, what stands as an opportunity to sensorially enrich pedagogy, and to approach classrooms as proper dwellings for both humans and other-than-human beings.

Let us imagine that a man loses his keys one night and starts looking for them under the light of a street lamp. When people join him to help him search, they ask where it was that he thinks he might have let them fall; with a frustrated look on his face, he then points into the dark distance and says, by way of explanation, “I am looking under the lamppost because this is where the light is!” This story, introduced by Janice Ross, provides us with a metaphorical description of an ongoing situation in arts education advocacy1: Certainly, I can only look for the arts in education where there is something about them that can be seen. Yet there may be aspects of them concealed beyond the reach of the vision..

In memoriam of Elliot Eisner, I wish to commend his book Educating Artistic Vision for advancing a distinction between contextual and essential arguments that has become classical to justify the purposes of the arts in education.1 Contextual arguments typically focus on transferring artistic qualities to nonartistic school areas and aim at achieving extrinsic outcomes such as higher academic results, a better school climate, improved cognitive development, and the like. Essential arguments are those that deal with intrinsic artistic qualities like the development of aesthetic awareness, the exploration of feeling and emotion as ways of interpreting reality, the capacity to make good judgments in the absence of...

RESUMEN:Este artículo presenta el pensamiento de Michel Montaigne como camino para interpretar aspectos de la formación docente contemporánea. En primer lugar se caracterizan las nociones de ensayo y de experiencia; se analizan las relaciones entre ellas; y se las discute como ejes de una propuesta formativa basada en una exploración seria de la propia vida. Luego, se presentan dos desafíos identificados por Russell : por una parte, si bien han pasado 12 años escolarizados, al momento de comenzar con sus prácticas profesionales los alumnos de carreras de pedagogía tienen dificultades en explicar de qué se trata enseñar. Por otro lado, los profesores que dictan cursos de pedagogía suelen no ser los mismos que acompañan a los alumnos en sus primeras experiencias docentes. Esto tendería a crear una ruptura entre la educación que se recibe como alumno y la que se imparte como docente de práctica profesional. El artículo concluye proponiendo la posibilidad de implementar un ensayo de posición pedagógica. Éste constituiría una estrategia formativa por sí misma que permitiría, tanto a profesores experimentados como a novicios, visibilizar, articular y discutir los argumentos fundamentales desde los cuales orientan su tarea cotidiana como educadores. ABSTRACT:This paper presents Michel Montaigne´s thought as a way of interpreting some aspects of contemporary teacher education. First, it characterizes the notions of experiment and experience, analyzes their relationship, and discusses them as guidelines for an educational project based on the serious consideration of personal life. From this point of view, the paper continues presents two challenges identified by Russell. First, the claim that when beginning their training, education students have difficulty in articulating what teaching is about. Second, the assertion that university course professors are usually not the same people that guide students through their practicum. The paper concludes by proposing the possibility of a pedagogical position experiment. This would be an educational experience as such, that would allow both experienced and novice teachers to manifest, discuss, and articulate the basic assumptions by which they guide their daily work

The purpose of this paper is to introduce everyday aesthetics in education. First, it presents everyday aesthetics as a subdiscipline within philosophical aesthetics, that revisits sensory perception as the backdrop of all experience, claims ordinary life is a proper venue for aesthetic inquiry, and problematizes the impact aesthetic preferences have on habitual decisions. Second, the paper argues that among the diverse matters students learn in school, they learn—explicitly or implicitly—what and how to perceive, as well as the pedagogical purposes of daily perception. School models the relationships that students will develop between what they perceive, what they think about it, and how they act accordingly. Next, the paper elaborates on the notions of “school aesthetic matrixes” and “space and place in school”. School aesthetic matrixes refer to perceptual patterns that allow characterizing relationships between daily perception and the pedagogical project of a school. They manifest through expressions such as prison school, home school, mall school, etc. Space and place in school allude to concomitant experiences, of corporeal basis, that allow describing how we inhabit the world. What distinguishes them is the approach each one gives to the senses and the body. The paper concludes by calling attention to the comprehension and role of perception in education, urging to mind the aesthetic-pedagogical character that students develop throughout 12 years of schooling. Ultimately, the key relationships we develop with ourselves, others, and the world, entail a basic perceptual dimension that can be educated to become more purposefully and integrally present in life.

The field of Philosophy and Education seems to be experiencing a renewed interest in the work of Aristotle. As recently reviewed by Curren (Oxf Rev Educ 36(5):543–559, 2010), most of this attention aligns with the virtue ethics movement where themes like moral development in education, and the inquiry on human flourishing as the aim of education are prevalent. For sources, this scholarship relies heavily and extensively on the Nicomachean Ethics and Politics’ Book VIII where Aristotle develops his single, clearly defined account of education. Among the short list of scholars who include Poetics in their research, their work seems to return to issues of morality and education (Carr in J Aesthet Educ 44(3):1–15, 2010; Gupta in J Aesthet Educ 44(4):60–80, 2010). This paper is an attempt to rediscover Aristotle’s insights on the peculiar type of learning that the arts seem to favor. In order to carry on this investigation, I will first guide my argument towards Aristotle’s remarks on poiesis. Then, I will focus on what constitutes the heart of poiesis, that is, mimesis. I will pay special attention to Aristotle’s consideration of both poiesis and mimesis as ultimately dealing with what he calls “possibility.” I will argue that learning in the arts entails the coming together of these three qualities. This would be a way of learning characterized by seeing human likenesses emerge as such in our interactions with artworks