By J. Wallin
This paintings examines the impoverished photo of existence presupposed by way of the legacy of transcendent and representational considering 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
456). Nietzsche rebukes, “[the priest] combats only the suffering itself, the comfiture of the sufferer, not its cause, not the real sickness: this must be our most fundamental objection to priestly medication” (p. 566). As Nietzsche (2000) writes, the outcome of ascetic reactivity in Western philosophy is nihilism. Asceticism purports that some greater power or value exists beyond material life, and that as disciplined subjects, we must renounce our desires in submission to their a priori image.
As I will attempt to explicate, Dead Man is not simply a metaphor for an ethical pedagogy of experimentation, but rather an experimental pedagogy that opens new relations of history and subjectivity. Jarmusch’s film posits “looking at the same thing in different ways—or looking at different things the same way” (Rosenbaum, 2000, p. 13). In Deleuzian terms (1987), Dead Man is a becoming-minor of the Western. Resisting mimesis, Dead Man enunciates new patterns of relation and assemblage across unlikely heterogeneous milieus, altering the dominant cultural terrain while mapping another.
Put differently, seduction can be evidenced when life does not aim at the representation of reality, but produces real effects through play and artifice. Like the simulations orchestrated by Orson Welles, the willto-deception creates new actualities that traverse the official meanings or images of the Law/State. Traditionally, stage illusionists have practiced the will-to-deception or seductive powers of the false, playing with the virtual potentials of the positive simulacrum to create new truth affects.