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In this article, mentors' perceptions of paired practicum in initial teacher education in Sweden are studied. Taking the mentors' perspective, we describe the potentials and the pitfalls of paired practicum. The pros and cons of the model are analyzed from a perspective of learning the vocation of teaching as a two-sided endeavor. Inspired by a modified Aristotelian perspective, we use the terms participant knowledge and spectator knowledge to conceptualize the learning of two different forms of knowledge. Qualitative data were gathered through interviews with five mentors and analyzed using an abductive process. The analysis reveals that paired practicum facilitates a potential for learning mainly a distanced and propositional spectator knowledge while the learning of a contextual and practical participant knowledge seems to be obstructed. For instance, paired practicum seems to prolong the peripheral position of the students and their opportunities to gain participatory knowledge. Results also show that there is a discrepancy between the pedagogical intentions of paired practicum and the concrete possibilities for realizing these in practice. The limitations of the paired practicum model, and how these can be overcome, both at individual and organizational level, are highlighted.

This article highlights the educational and the aesthetic significance of the subject matter (i.e., "the third thing") in the relationship between teacher and pupil. This, through a reading of two texts, one written by the 19th century educationist and German philosopher Johann Friedrich Herbart, and one written by the contemporary philosopher and political theorist Jacques Rancière. By emphasizing the third thing between pupil and teacher, the article intends to reimagine both the educative and aesthetic values of those timeless things around us, such as objects of art and education, which give life a meaning beyond our limited socio-cultural desires, interests, concepts, and identities. Teaching, from this "fusion of the horizon" between Herbart and Rancière, is an activity created by the heterogeneity already integral to the "essence" of the subject matter. As such, the article also offers a fusion of the horizon between aesthetics and Didaktik.

Attentiveness is a crucial aspect in the practice of teaching. As teaching always is teaching about something, ideas, values, events, or objects, it both draws and forms the attention of the students. When contemplating on and looking into the term "attention", it is apparent that it is not at all, a clear and well-defined concept. Acknowledging the relational aspects of teaching and its role in the formation of attention, the article seeks to turn away from psychologically, behaviorally, and cognitively based (or biased) perspectives that frame attention as either an individual capacity of the student or an expected student behavior in the classroom (Rytzler 2017). It also seeks to contribute to discussions of philosophy of education, where questions about uniqueness, otherness and subjectivity are seen as aspects of attention (c.f., Ingold 2001, Todd 2003, Lewis 2012, Rytzler 2019). In the article is suggested that a phenomenological account of attention adds nuances to an educational understanding of attention, as it comes to life (or not) in the lived practice of teaching. The main purpose is to show how teaching as attention formation, is a relational activity that builds on thing-centered and formative activities that take place in a domain that is both ethical and political but, first and foremost, educational.

European higher education has been highly influenced by the Bologna-process, entailing coordination and standardisation from policy to teaching practices. This led to increased demands on university teachers. Courses in university pedagogy are required as part of competence development and have become decisive for employment. Constructive Alignment has become a popular model, being in line with Bologna-process ideals. Emerging is an instrumental view of higher education that risks excavating university pedagogy of its pedagogical dimensions and reducing the autonomy of the university teachers with focus on standardisation and emphasis on effective output. This paper proposes a Didaktik-approach to university pedagogy. We argue that Didaktik can help revive relational and emancipatory elements of higher education. By viewing the relationship between teachers and students as a gathering around common interests, we maintain that Didaktik emphasises teachers' reflections regarding the subject, the students, and other educational dimensions.

Through writings of Simone Weil and Michel Foucault, the article explores the notion of education as the formation of the attending and attentive subjects. Both writers have in different ways acknowledged the important relation between attention and the self. While Weil develops a spiritual form of attention, an attention which can be trained in any form of serious studying, aiming at dissolving the illusion of the self, Foucault understands attention as an important aspect in the Greek notion of "the care of the self," which was developed outside of and due to the limitations of pedagogy aiming at a self-attentive self-formation. Both non-egotistic notions of attention address ethical and educational dimensions of human subjectivity. Foucault's notion is anti-institutional and Weil's notion is non-formative. As such, both perspectives inform educational thinking and practice by highlighting attention as a crucial aspect of both the active and the contemplative subject.

While the aesthetics of Rancière is a well-explored topic, there has been something missing from the reception of his works, and that is the relation between Rancière's aesthetics and music. However, in recent years an interest in this relation has resulted in several academic contributions, which is sign enough that there is in fact a musical element in his works. Rancière himself, in response to this reception, has acknowledged as much. Music is a human form of expression that uses the physicality of air to produce vibrations that encounter and resonate with the human body. Musicality is the ability to attend to such vibrations and harness the expectations and surprises that they bring about. In this article, I explore how a musical approach to Rancière's writings can inform educational philosophy, especially as regards the practice of teaching. Particular attention is paid to his notion of the sensorium as a sensible realm where we experience and encounter difference and otherness, in political events as well as in teaching situations. Attending ethically to these situations is predicated on a certain sensibility that involves certain aesthetic qualities. In this article, I explore this sensibility as a particular educational musicality. Drawing from educational philosophy, the aesthetic theory of Jacques Rancière, and music philosophy, I connect this musicality of teaching to an ability to navigate in an ethical space that comes to life through a material/sensible community of interests formed in teaching practice. I use the term acousmatic experience as an explorative device in an attempt to depict teaching practice as something that can bring about a specific educational sensorium. [ABSTRACT FROM AUTHOR]