New public management of Higher education, Foucault and power

The theory of New Public Management (NPM) suggest that one of the features of advanced liberal rule is the tendency to define social, economic and political issues as problems to be solved through management. This paper argues that the restructuring of Higher Education (HE) in many Western countries since the 1980s has involved a shift from an emphasis on administration and policy to one of its efficient management. Utilising Foucault’s concept of governmentality rather than the liberal discourse of management as a politically neutral technology, managerialism can be seen as a newly emergent and increasingly rationalised disciplinary regime of governmentalising practices in advanced liberalism. As such the contemporary University as an institution governed by NPM can be demonstrated to have emerged not as the direct outcome of democratic policies that have rationalised its activities (so that the emancipatory aims of personal development, an educated workforce and of true research can be fully realised), nor can it be understood as the instrument through which individuals or self-realising classes are defeated through the calculations of the state acting on behalf of economic interests, rather it can be seen as the contingent and intractable outcome of the complex power/knowledge relations of advanced liberalism. I analyse the interlocking of the ‘tutor-subject’ and ‘student-subject’ as a local enacting of policy discourse informed by the NPM of HE that reshapes subjectivity and retunes the relationship between tutor and student. I put forward suggestions for how resistance to these new modes of disciplinary subjectification can be enacted.

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

Leaving on a jet plane of immanence

This is about politics and protest, or rather about a politics of protest, and of rebellion. But it is also about creativity and the way in which theory and practice combine within the context of the ‘productive/creative’ process. In this case the combination is explicit and can be traced along a clear trajectory. The following will set out the way in which the accompanying piece of music – a cover of the 1969 protest song Leaving on a Jet Plane by Peter, Paul & Mary - came into being. In doing so it will make reference to a number of theoretical ideas/concepts that fed into the productive process and/or appeared relevant postproduction. It will draw on various aspects of thought from Heidegger (Standing reserve, Enframing and Authenticity), Camus (The Rebel), Foucault (Luminosity), and Deleuze (Immanence, Difference and Repetition and The Fold). [From the Author].