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By J. Wallin

This paintings examines the impoverished photograph of existence presupposed through the legacy of transcendent and representational pondering that maintains to border the boundaries of curricular thought.

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Extra info for A Deleuzian Approach to Curriculum: Essays on a Pedagogical Life

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In this vein, the Deleuzian challenge shifts from the passivity of the moribund simulacrum to the active force of currere to differ. Put differently, Deleuze shifts the emphasis from what is (Being), to what might become. Yet, it is crucial to reiterate that becoming is not a passive process. Becomings are the active creations, powers of the false, and chance productions of play (jeu) that deterritorialize assignable identities (je). Following, the power of art and philosophy for pedagogy germinates from such powers of becoming and the experimental ethics of the eternal return.

418). The “choices” available to the individual, however dilated, are already constituted. Interpassively, the individual takes them to be his or her own without having to risk thinking difference. The task thus becomes representing in one’s own thought that which comes a priori. Both the passive and interpassive individual is recapitulated in curriculum theory, wherein the simulacrum is conflated with the obliteration of vital innovation (zoe) by the acculturating forces of commercial media (Habermas, 1990; Pinar, Reynolds, Slattery & Taubman, 2000; Postman, 1993).

Jones, 1996, p. 45) S ubsequent to its 1995 Cannes premier, writer-director Jim Jarmusch’s Dead Man was met with mixed and perplexed reviews. Breaking with the conventional tropes of the Western movie genre, Dead Man, alongside it’s filmic predecessors The Wild Bunch (1962), Little Big Man (1970), Ulzaana’s Raid (1972), and the 1973 Pat Garrett and Billy the Kid, mobilized a political direction that was distinctly post-Western. Deterritorializing the traditional codes of the Western film, Dead Man recaptured the nightmarish trajectories of colonial genocide, environmental ruination, capital ascension, and the spread of Christian morality normalized by the genre between 1930 and 1960 (Jones, 1996; Levich, 1996; Rickman, 1999).

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