Joe Kincheloe's Critical Complex Epistemology/Pedagogy & Multidimensional Critical Complex Bricolage

Launching the Multidimensional Critical Complex Bricolage Process

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Paradis, V. J. (2013). Did Joe Lyons Kincheloe Discover the Golden Chalice for Knowledge Production? The Application of Critical Complex Epistemology and the Multidimensional Critical Complex Bricolage. (Doctoral Dissertation)

 

Launching the Multidimensional Critical Complex Bricolage:

The Research Proposal

Kincheloe’s recommendation was for bricoleurs to choose a topic they feel passionate about and then be sure to bring to light their subjectivity (subjectivity in a critical social context; refer to “Definitions of Terms”). I have found it’s helpful to have committee members who are comfortable allowing me complete freedom for me research. Bricoleurs also need to be able to embrace that freedom and own it. I have seen too many beginning researchers want to have their hands held by their committee members all the way through when most of their questions can be answered by doing a little research. There are other sources for guidance, as my study will show and as you will discover for yourself if you use this process. As far as time, a bricolage study need not take longer than other forms of research. A bricolage study can feasibly be conducted in two to three years. Mine took nearly four years due to extenuating factors, one being that I was required to switch specializations in order to get the topic approved, requiring extra courses before I could proceed, and the primary one being losing Joe Kincheloe who I had been working closely with, just as I was getting started with the research. I also struggled to fight denial and FIDUROD as I acclimated to a new “multidimensional” life. No one understood why I took Kincheloe’s death so “disproportionately” hard; perhaps this study will help shed some light on that. It did for me.

The research proposal should be focused as far as general topic, but an open-ended proposal such as I had initially written for this project gives bricoleurs freedom to fully explore the topic they have selected. I found this worked very well for this current project. I wanted my research to be wide open and flexible, giving me freedom to explore in the event direction changed somewhat during the research. We never know what we will find. As both Kincheloe and Einstein have been known to state, if we knew what we were going to find, we wouldn’t be calling it research (or at least shouldn’t be). The deep, inter/multidisciplinary research, analytic, interpretive, and reflective acts of the rigorous multidimensional critical complex bricolage can yield surprising and even shocking discoveries as higher order questions develop and are explored. As Kincheloe had instructed me, once we get “a multidimensional view of the object of study,” then we can begin to narrow down and “delimit” our research (personal conversation, October 23, 2008).

            The bricolage forms its own evolving structure during the process of the research and writing, and the less preconceived the initial structures, the more likely innovativeness and creativity will facilitate the emergence of new topics and subtopics that contribute to the final structure. It may be beneficial to use the concept of the Point of Entry Text (POET) that Berry (2004a) recommends, beginning with writing what you already know about the topic, but from there it will evolve and will look like something very different upon completion. There are multiple ways to use POETs. The bricolage itself becomes a compilation of multiple POETs each of which can be expanded, condensed, rearranged, or deleted. Berry describes how they can be synthesized and how they evolve during the research process. When using a very structured document for a POET or for an analysis, for example, if your discourse presents it out of order, you are doing it correctly. This study itself and several examples within illustrate how it is often the connecting of ideas in unique ways, not in a “rational” linear manner that brings to light new relationships. For example the analysis of the special text Kincheloe had assigned me to read in the upcoming section, “Special Assignment: Analysis of Symbiotic Hermeneutics,” is not in the order of the original text at all, but there is a logical, intuitively-based flow.

Thus, bricolage almost takes on a life of its own. With practice, it increasingly becomes a natural, evolutionary, and creative process of autopoietic knowledge production; we cannot avoid our own consciousness construction, which is just one payoff for using this process. Can it be seen then, why the choice of topic is so important? The full bricolage I originally wrote for this project evolved as a holistic unified structure, maintaining coherence throughout as I engaged in this natural, autopoietic, and improvisational flow, but it is not as easy when using a pre-determined format as may be required by some universities. While I found it helpful to write the more “free style” version first, I still feel constrained even as I pull from my original and use a more formal, structured template for presenting this research. The template creates extra redundancy as well as forces discussion of irrelevant items. However, until this process is well understood, further developed, and comes to be widely accepted, it is natural that various compromises are needed and flexibility is required of both researchers and universities. In the meantime, I have crammed what might be multiple chapters all into “Chapter Four.” It works.


 

Performance Texts: Transcending Traditional Ethnography

Much social research has been conducted involving the controversial practice that has garnered the derogatory label, the “researcher’s gaze.” This form of cultural research has caused immense oppression, suffering, “colonialism,” and even genocide due to its misapplication (Kincheloe, 2008c; Denzin & Lincoln, 2008, 2011). Still today, ethnographic research too often oppresses and divides people instead of promoting equality and the embracing of diversity and appreciation of all cultures. The multidimensional critical complex bricolage compels researchers to spend more time rigorously analyzing their own positioning in the social web. Thus, they share experiences and interpretations in relationship with their research while simultaneously encouraging participants, such as their students, to do the same. This is similar to participatory research but takes it to a higher level, with greater, more genuine engagement, such as Kincheloe presents in his work (e.g., Teachers as Researchers). This approach highlights the need for multiperspectival views for gaining more knowledge and understanding that can transform us rather than trying to transform others. The process transcends superficial multiculturalism and truly embraces diversity and differences. As Nieto and Bode (2012) express, there is extensive work needed in classrooms to affirm diversity and teach in a socio-political context. And while these are “hard times” they are also hopeful times (Nieto, 2005). The multidimensional critical complex bricolage is a process that restores hope with its embedded “immanence.” Of course, change is always inherently complex but bricolage changes the focus. An example from Kincheloe’s (2002) work that illustrates the form of study I’m suggesting is his book about McDonalds, The Sign of the Burger. Here, he was an active participant (customer), thus, he was a member of the group he chose to learn more about in his quest to reveal the hidden power dynamics operating within this multinational corporation. This is another vote for Kincheloe’s form of bricolage and why I find it so suitable for my own research purposes, a subjective position no doubt, and related to my personal idiosyncrasies of not feeling comfortable “gazing” upon and evaluating other people. I don’t even feel comfortable reading those forms of ethnographic studies. However, I readily see the positive use Kincheloe’s research process would have in a classroom where the teacher adopts a more egalitarian outlook and conveys learning as a journey she’s taking with her students.

And given that I have decided to keep the golden strand of love interwoven throughout my dissertation, I will point out that Kincheloe’s act of sharing himself in this highly personal manner as he has throughout his work is one of the deepest acts of love possible. He spoke in his last book of putting it all out on the table and, indeed, he did. In support of this assertion about love, in an article, “The Alchemy of Relationship” Tom Kenyon (2012) describes intimate relationships as sacred, demanding the utmost honesty: “Instead of hiding our cards, we lay them all out on the table. . . . And the reason for this radical type of honesty is that without it, the Alchemy of Relationship cannot take place” (para. 4, author’s emphasis). Kenyon was referring to relationships between couples, but the concept applies to all loving relationships and sheds understanding on how Kincheloe may have viewed the commonly used term in critical pedagogy, “radical love.” With this dissertation, I also am laying all the cards out on the table in anticipation of the day when more people will realize what it means to truly be free and share openly and realize the value it provides for moving society forward. Someday the popular notion that it’s narcissistic to do so will be seen for what it is: an ideology to keep us from sharing openly, honestly, and lovingly. In contrast, it seems narcissistic, in my view, to think we can observe, evaluate, and “fix” people using traditional (FIDURODian) social and psychological forms of research. As Kincheloe (2004b) points out, bricoleurs are always “struggling to transcend the traditional observational constraint on social researchers, as they develop new ways of exposing social, cultural, political, psychological, and educational forces not discernible at first glance” (p. 20). This form of research requires great sensitivity, compassion, and empathy.

For those who are not ready to take the giant leap and are in the early process of learning, Kincheloe’s bricolage can be applied in more a traditional sense at the surface level of analysis, but keeping in mind that there are multiple interrelationships that need to be explored even without venturing into the deeper fourth dimensional research. There are countless applications. There is always the requirement for the philosophical dimension, however, to ensure rigor and it is especially powerful when used for a deeper understanding of who we are and what we do in relation to our outside environment and the people we come in contact with. If we do not fully understand ourselves, who we really are or the reality we participate in, how is it we believe we can create accurate representations or interpretations of other people and their reality? The Western worldview with its FIDURODian dictates, as Kincheloe (2008c) has clearly described, is most debilitating when it comes to being able to see and describe reality. Bricolage moves researchers away from the limiting traditional research paradigms by requiring them to investigate different realities and interpretations, highlighting their own subjectivities, based on the acknowledgment that everyone has their own voices. The multidimensional critical complex bricolage even frees us to speak in our multiple voices. This was a major reason I chose this process for my research; I can speak for myself, from my own perspective, using my own interpretations, interpretations of other people’s perspectives, but I do not wish to speak for someone else or claim my understanding is the one true and unchanging reality.

Sadly, I have learned by participating in many different discussion forums that most people do not have their own voice no matter how it appears there is freedom of speech. Many people don’t even want to have their own voice; groupthink is a powerful force and it evidently provides some kind of benefit which I have yet to discover. Even among doctoral researchers, for whatever the reasons, there is simply rarely a desire to engage in discourse, even about their research. Society would gain so much if we learned discourse skills and people felt free to express their true selves, in the moment, and if social networking systems were properly designed for that type of discourse. However, I have learned that as soon as one exercises their “freedom of expression” and encroaches upon some of that “dangerous knowledge” Kincheloe mentions throughout his work, the gatekeepers show up and hegemony is proven to be alive and well. Thus I have been locked out of some social networking sites and blindsided a few times, similar to Kincheloe’s experience in a dark alley (Kincheloe, 2008c, p. 176).

In William Tierney and Yvonna Lincoln’s (1997) book, Representation and the Text: Re-Framing the Narrative Voice, a number of authors present their views about the need to transcend traditional ethnographical approaches in research. There has been great controversy over whether narrative accounts of other people can be produced without causing harm, as I have previously discussed (Lincoln, 1997). Narrative that escapes the abstract third-person perspective for disseminating research is a powerful approach for revealing and contesting power and opening our consciousness to new ways of viewing and being in the world. Critical to the personal reflective ethnography are performance texts. As Denzin and Lincoln (2011) articulate, “Finally, we anticipate a continued performance turn in qualitative inquiry, with writers performing their texts for others” (p. xiii). When this trend takes hold in concert with Kincheloe’s bricolage we will advance in our understanding of what it means to be human. We will be able to relate to each other in genuine and loving ways, and some highly creative and entertaining ways as well. Performance text is a powerful method to combine with bricolage.

During my preliminary forays exploring bricolage I often wrote in the style that would be considered “performance text,” posting my writings on the Internet as blogs, exploring various types and styles of texts, perspectives, ontological positions, rhetoric, and philosophies, ranging from formal academic prose to imaginary and creative writing. Kincheloe (1997) recommends, in spite of objections, that bricoleurs explore using romance, tragedy, satire, comedy, and “absurdism” (pp. 65-66); I used them all and more. I was free from formal academic constraints to examine a wide variety of topics deeply, becoming intimate with them from various perspectives during the early part of my research. Thus narration, and in particular, self-ethnographical or auto-ethnographical and auto-phenomenological self reflection in relation to one’s perceived social positioning disseminated as performance text are important partners to the multidimensional critical complex bricolage. While they do not constitute Kincheloe’s concept for rigorous research because they do not typically incorporate rigorous analyses, they do constitute background research and preparation work that contribute to the final bricolage, and they contribute to the gradual transformation that takes place which is inextricable from the bricolage. There are no academic rules for these explorations; we can take formal and informal approaches. Everyone has multiple voices (Tierney & Lincoln, 1997; Ellis, 1997). I have even argued from positions I don’t agree with as it is a powerful technique for understanding different perspectives. However, many people do not seem to understand that they are merely perspectives, not a fixed reality. And some people have objected over my descriptions of my phenomenological experiences in “other worlds,” highlighting continued Western domination and the enforcing of a “one true reality.” Our other realities are to be hidden and swept under the rug or we risk being permanently, publicly labeled as “unbalanced.” We do have some work to do in FIDUROD Land. Nevertheless, using multiple perspectives even at surface levels gives everyone something to relate to with the bricolage as well as it exposes them to difference, which is critical for developing new ways of thinking and higher levels of cognition.

Thus, performance texts begin with “mystories,” which involve the story-teller’s entire “being,” their timeless biography of the past, present, and future, according to Denzin (1997). And with this work, I extend the concept of “mystories” to encompass multidimensional experiences. Transcending traditional texts and a one true FIDURODian reality to seek answers to epiphanies, existential experiences, and other phenomenological experiences, the performance text travels outside traditional boundaries to explore and perform multiple self-reflexive ways of “being” in the world. This leads quite naturally to the exploration of a variety of ontological perspectives, freeing writer-performers from social, political, and epistemological shackles. Denzin illuminates: “The reflexive performance text must contest the pull of traditional ‘realist,’ theater, ‘method,’ acting (and ethnography)” (p. 181). This literally can involve breaking all of the rules and the effect can be beneficial in many ways. The freedom for “being” and letting go and allowing others to “be” would contribute to a more loving and creative world. While this work by Denzin was written in 1997, progress has been stalled by the recent Bush and Obama’s administrations’ backlash focus on educational standards and push for positivistic research that “measures” learning and teacher effectiveness. As a result, graduate level educational research being produced at some universities is often dry, third person, terse, out-of-context, and overly condensed. It does not produce much in the way of new knowledge but rather tends to result in redundancy and rehashing with little that can be applied to improve education. University research is also increasingly being funded for corporate, political, military, and technocratic purposes and, of course, that funding currently goes primarily to quantitative research. People do what’s funded. Thus, teachers will become obsolete, replaced by computers that can see, hear, and measure everything about its students. Is this really what we wish to create?

Performance text, the telling of our stories is a bit risky because we are telling a different truth from FIDURODian reality, and this is still relatively new territory today. For example, it’s perfectly fine to talk about the problems and how we suffer as long as we do not present real solutions. In fact, the media flaunt our dilemmas in front of our faces; we are told on a daily basis how our economic and social woes are constructed. But get too deep and start talking about the unrevealed dimensions of those problems, real actions for change, and start implementing them as the multidimensional critical complex bricolage has us doing, we are treading in the realm of “dangerous knowledge.” There can be a price to pay for that. There are too many people holding up the matrix who feel threatened when someone comes along and rattles their cage. Thus, not enough educational researchers are diving into the waters of performance text. Denzin (1997) provides guidance to help researchers move forward. He suggests developing a “performance aesthetic” and an “evocative epistemology” that move beyond “the already-seen and already heard” (p. 181). He explains, “This aesthetic will venture into those taboo spaces where the unpresentable in the culture is felt and made visible, seeking a performance sublime” (p. 181). I do believe I hear celestial music.

In my estimation, this describes what I have accomplished with my performance texts and this research. Thus, I am pushing the envelope and during the process I have discovered that few people relate to what I have set out to accomplish or perhaps the vocal ones see a risk of my producing “dangerous knowledge” that might upset their apple cart, even among critical pedagogues. Maybe I took the word “radical” too seriously. My research has had to become a process of totally disengaging from the entire world of “critical pedagogy,” other than Kincheloe’s work; in fact, it has involved in many ways disengagement from the entire world.

I knew my place in the ordained world of critical pedagogy without Kincheloe in it: there was no place for a country hick like me. I had read how he had been shunned since boyhood even, for being an Appalachian “hillbilly” whose writing had sometimes been viewed with suspicion or disdain by some of his teachers, professors and the educational elite, as well as some harsh and unfair critiques of his bricolage research process (e.g., Gorard, 2006). I literally felt the struggle and hard work he had endured to secure and maintain a place as an academic scholar who spent his entire life serving other people, and I knew that unless I was willing to work myself to death, I would never be allowed a “place” in that world. I knew I did not stand a chance—and I didn’t even desire a place there with the way things stood. Joe was no longer there to share the dream with or to alleviate my suffering when the critical world became harsh.

 

Emphasis on Practical, Embodied Knowledge

Kincheloe’s (2001b) critical bricolage is a move away from knowledge that merely explains toward knowledge that is embodied in the context of lived experience, but it’s not necessarily an easy step. “The move from explanatory knowledge to practical knowledge demands a profound sociocognitive and epistemological leap,” he explains (p. 281). And it reconstitutes our notion of rigor. This means as researchers we describe the living context, the phenomenology, and our intimate understandings. According to Kincheloe, “In this way, practical knowledge is produced—knowledge that can be used in social, educational, and psychological situations” (p. 281). This requires that we use “the human self as an instrument of inquiry and emotional/logical insight” (p. 281). In other words, once again, we move away from traditional forms of ethnographical methods in the bricolage toward the self-ethnographical/self-phenomenological.

            Bricoleurs are aware throughout the inquiry that the experiences being examined are complex and that there are multiple ways to interpret them. Due to numerous intersection points and the use of hermeneutical techniques, the research process tends to follow a spiral trajectory revisiting phenomena in new contexts. This may give the impression of redundancy, but Kincheloe and Berry (2004) maintain that repetition is simply the “noise to be included.” Bricoleurs will need to determine whether there is value in maintaining particular redundancies. In this study I often provide several interpretations for phenomena and in other instances I explain or justify a particular tentative, elastic interpretation, depending on what I detect might be needed. Thus, I share Kincheloe’s (2001b) appreciation that “these values [or interpretations] are not absolute qualities but are perpetually subject to questioning, interpretation, clarification, and transformation” (p. 281). This is important because the purpose is not to describe a fixed reality as much as it is to explore reality as we experience it and to keep seeking deeper questions that take us further into the outer reaches of our conscious awareness. The better we can do this the more we come to experience an amazing, complex, living cosmos of diverse entities.

 

Finding Yourself: Standpoint Epistemologies

Standpoint epistemologies are important to performance texts. They involve self-reflection that conveys the writer’s interpretation of their social positioning as I have done in the previous dialogue. This act contributes to the philosophizing of one’s subjective perspective as well as the ability to phenomenologically bracket it (set it aside). Standpoint epistemologies bring to light the “truths of life’s fictions” and clarify reality of the experiences being described by the writer, according to Denzin (1997), and these modes of expression can “undo the voyeuristic, gazing eye of the ethnographer, bringing audiences and performers into a jointly felt and shared field of experience” (p. 182). This may be true if the readers actually relate to the writer’s experiences, but as Denzin has also pointed out, different audiences will have different interpretive skills. Thus, as I have discovered, the writer risks being gazed upon voyeuristically and will have had to have transcended the concern over this in order to engage in the performance. Alternatively, they may need to simply allow feelings of discomfort until such time the discomfort fades with transcendence.

A major difference, however, between performance text/self-ethnography and traditional ethnography is that the performer/writer can make these choices and has power over what is included in the text, thus, they can choose whether or not to self-censor. Subjects of social, cultural, and psychological profiles too often do not have that freedom, and unfortunately, what gets written in these cases is often accepted as fact rather than interpretation that should be subjected to scrutiny. Sadly, even the subject of a psychological profile, for example, may be swayed from their own truths by the more “qualified expert.”  I have seen enormous harm inflicted upon innocent people, including children, by the legal system when inept “experts” write reductionistic, harmful psychological profiles of people and judges take them to be truth. It literally can become a matter of life or death. Evocative self-ethnography and performance text take research out of the hands of the expert and it frees us to be who we are as human beings.  With his work, Kincheloe opened up opportunities for everyone and with this dissertation, I move further out into the “great wide open” as one individual. As I have become more comfortable being who I am, have gained more knowledge, and have continued to transcend what has been socially constructed as “normal,” my writing has continued to open up. As more people take this approach it can’t help but allow other people freedom to do the same. As Kincheloe had stated in his interview at McGill University in 2007, we can redefine what’s “normal.” It’s long overdue.

 

Interrogating Fiction Formulas

In service of personal reflective self-ethnographies and performance texts is the interrogation of “fiction formulas.” Fiction formulas are the taken-for-granted knowledges that seldom get questioned (Kincheloe, 1997). This action of interrogating takes the performance text beyond being a simple narcissistic representation of the author. There is purpose behind the texts and the performance, and often that purpose is profound and makes a difference in those who read/view the performance as well as in the performer. It is a difference that can lead to action and social change. Fiction formulas consist of historical, tacit, taken-for-granted ways of being in the world—in whatever context the research is taking place. They often take the form of “secretive formulas” (p. 59). For example, in my interactions within various critical pedagogy communities I learned that there was secret knowledge to which I was not privy, which to this day I do not know or understand. These “secretive formulas,” according to Kincheloe, create “narratives that are [considered to be] conflict-free, seamless, objective, and official. Such fiction formulas arise not from the need to remember but from the need to forget. The formula calls for a bleaching of bloodstains that helps prop up established power” (p. 59). The quest for the narrative becomes one of seeking and exposing these fiction formulas, exploring why they exist and what they are hiding, revealing who they benefit and who they harm, exploring new possibilities, and performing text as a means of instruction and action.

As researchers explore ways to present new perspectives gained in their border crossings, they weave “auto-phenomenological descriptions of researcher consciousness . . . with open-ended requests of the reader to help with the interpretation of the process” (Kincheloe, 1997, p. 63). Thus, performance text becomes a way of communicating the consciousness reconstruction of the researcher during the research and it becomes an interactive text. This action keeps the multidimensional critical complex bricolage “catapulting” forward. The word “catapult” has been discussed in the literature review as an etymological root to bricolage and a potential metaphor for the “action” of the bricolage, an action which can be powerful and forceful, thus signifying “the power of bricolage.” But it’s not just any bricolage; it must be the multidimensional critical complex bricolage, for it is action across dimensions, borders, and disciplines and the bringing together of multiple knowledges that create the greatest force for catapulting knowledge and creating change. These actions often take place in multiple directions simultaneously, as I have learned with my “fourth dimension research.” The bricolage becomes a living, growing, fractal-like entity that perpetually reveals fiction formulas. (Kincheloe, 2005a). The truth about fiction formulas sets us free.

 

The Fictive Elements of Research

By “fictive elements” Kincheloe (2004b) refers to the research act of making visible “a variety of previously repressed features of the social world” (p. 20). He emphasizes that the term “fictive” should not be confused with “unreal” and uses the example of scientists who conceive of inventions in their minds and describe or create design documents for them before actually creating them (e.g., “the electric light, the rocket, the computer, or virtual reality,” p. 20). Future oriented people whether scientists or bricoleurs, can imagine and explore possibilities that have never before existed using lucid dreams, visions, remote viewing of nonlocal spaces, and other means. He describes this process:

 

Both the inventor and the bricoleur are future oriented as they explore the

realm of possibility, a kinetic epistemology of the possible. In the process, the

sophistication of knowledge work moves to a new cognitive level; the notion

of rigour transmigrates to a new dimension. As in a 1950s sci-fi movie, bricoleurs

enter the 4-D—the fourth dimension of research. (Kincheloe 2005c, p. 346)

 

The movie he’s referring to here may be the 1959 movie, “4D Man,” about a man who, by using an amplifier, can enter the 4D state and walk through walls, much like people describe they can do when they astral project. What a way to research. During my own research for this project, these “kinetic” experiences involved visiting nonlocal future and past realities and observing clearly some of the features of those realities as well as re-experiencing the emotions embedded in them. Making these experiences visible by describing them is what constitute this “fictive” element and they are important for providing insights for innovative solutions for some of the problems of today’s world. They can also be very healing. Lachman (2011) describes these experiences as being more profound than simply being memories. They are actually experienced and can be re-experienced. With each experience more details are noticed. Therefore, they should not be viewed as less valuable than how a scientist might imagine a design for a new invention and then create that invention, according to Kincheloe’s conception. These forms of experiences are advanced ways of viewing “what could be” which critical pedagogues stress is so important for immanence, the force for creating changes for social justice. Fictive experiences transcend imagination. Perhaps as we learn more about these experiences, an entirely new epistemology can be developed to describe them. In relation to this advanced fourth dimension bricolage, Levy (2012) astutely notes, “Kincheloe’s work on bricolage had provided one positive beacon” for the move toward a more philosophical approach to research that is “needed to cut through some of the deadening and limiting effects of contemporary, neoliberal educational ideology and to move policy, discourse, and practice in more human-centered, life-affirming directions” (p. 7). He continues:

 

Kincheloe (2005) was daring enough to suggest that the bricolage assumes “fictive elements” (p.330) within narratives and representations which, when coupled with “researcher creativity”, have the potential to produce “concepts and insights about the world that previously did not exist” (p.346). This is integral to the “philosophical consciousness” (Kincheloe, 2004, p.8) presumed and further cultivated by the bricoleur. Such claims worked to counter some of the jarring effects of the tendencies common within educational research methodologies to commandeer and oversimplify philosophical concepts that had a long and contentious history. (Levy, 2012, p. 7–8)

 

Thus, some researchers see the enormous value Kincheloe’s advanced conceptualization of bricolage offers. I find this exciting and look forward to many more people taking a leap forward with their research as Levy (2012) proposes. In this current study I have sought to provide the example of a new bricoleur developing this philosophical consciousness Kincheloe had conceptualized. I understand that many people will not relate, and to be honest, I had no idea at the outset how far I would take this research. Consciousness evolution, from my perspective is very real and it can also be very rapid. The multidimensional critical complex bricolage sets that evolution in motion. There’s no turning back.

 

Paradis, V. J. (2013). Did Joe Lyons Kincheloe Discover the Golden Chalice for Knowledge Production? The Application of Critical Complex Epistemology and the Multidimensional Critical Complex Bricolage. (Doctoral Dissertation)

 

 

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Big Deal-Catch Up 
“As a child I wanted so desperately for magic to be real. I would work for hours collecting what I hoped were just the right combination of ingredients to make some type of magic potion that would provide me with special powers….I found such magic in words viewed in a postformal matrix and I observe and practice that magic everyday.” (Kincheloe, 2006, Reading, Writing, Thinking, p. 13)
 
 
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