On Retroactive Instrumentality

Abstract

AbstractThe topic of instrumentalism has engaged many scholars of contemporary educational thought. One can distinguish the positions of anti‐instrumentalism from those that stress noninstrumental values of education, both conceived in the context of neoliberal/neoconservative and consumption‐driven reality. In this text, Maria Mendel enters into this engagement from the perspective of the current political consumption of memory. While taking up the problem of the role public pedagogy plays in contemporary nation‐states — especially in the current turn toward the past — Mendel focuses on both educational and sociopolitical issues in the context of what she calls “retroactive instrumentalism.” When return to the past is the “principle of the contemporary,” she argues, instrumentalism does not necessarily result from intentional planning ex ante. If education is broadly understood as a practice of public space formation, it may be composed of experiences that do not have to be “traditionally” purposeful and oriented toward the future. They may gain their instrumental character ex post. To illustrate this possibility, Mendel analyzes snippets of Polish reality concerning the construction of “the good nation.” Many of the elements of public pedagogy in this case contain unifications that pertain directly to the instrumental character of the learning experiences employed by a society as it transforms into a nation. The instrumentalism of those elements is discovered post factum. In its ontological dimension, then, education may gain or solidify its instrumental character ex post. Based on the analysis proposed in this text, one could say that when instrumentality is retroactive, it becomes displaced intentionality — that is, it provides an instrumental story that disguises the intentions of the one writing the narrative. Mendel concludes by using the Aristotelian notion of phantasia, which regards “being without a matter,” to encourage productive thought about how to create public narratives that are free of instrumentalism. This grounds a version of public pedagogy that is oriented toward the animation of people's active imagining and thus becoming public. By epistemologically shifting learning into a public space, such public pedagogy serves to recultivate society and humanity as plurality, diversity, and coproduction of the public.