Abstract

This article considers the ‘creative education’ of influential Aotearoa/new Zealand art educator Elwyn Richardson, which is based on what he calls the ‘discovery method’: the ‘concentrated study of material from [students’] own surroundings’. Through a game that his students play with tyres, we explore the role that tools play in Richardson’s classroom and in the imaginary ‘worlding’ of his students’ play. By taking the ‘early world’ of the children’s development to be a product of the tools through which they describe it, we reveal Richardson’s educative process to be essentially technological. His idea of the whole child who emerges through a process of experience and observation—of ‘emotion recollected in tranquillity’, in the well-known phrase of Wordsworth cited by Richardson—conflates the nature of the child and nature of the ‘natural’ world. By this act of ‘natural settlement’ not untypical of settler narratives in Aotearoa/new Zealand, the child’s—and, by implication, other settlers’—relation to the world of nature is naturalized. Instead, we would argue that the child’s relation to nature is altogether unnatural: it is imprinted by the technological means through which she explores the world and makes it her own—and by which she is made over. The ‘tyre-child’ is no child of nature, but a child of technology, for whom creative errors—acts of ‘mis-taking’ like the ones Richardson’s children make in playing with tyres—reveal an imaginary capacity at once theoretical and unsettling.