The first is education in the larger sense of transmission—inter-generational
transmission—because, to my mind, this is the essence of education. What
is education in this sense? Education is the relation between diverse
generations, and contact is its mode of transmission. For example, an artist is capable of affecting, in and of themselves, a line of transmission from Paleolithic
art through to contemporary art, and this transmission is a relationship to
time, to human—I don’t like the word “human,” so perhaps we could say “mortal”—experience.
These lines are within the artist, not made manifest by him or her, nor are
they structures of representation, and they are put into effect through their practice, through the contact with
them.
Initially, the most common,
everyday experience of education is the relationship between parents and
children, or we could say that the space of the family is the first space of
education. And here we can already begin to identify problems, which are very
close, very connected to problems that you can see at other levels and
modalities of education, in schools and in museums and in other similar
institutions. And so I would like to speak about those three levels; this “family”
education; academic education, lets say; and “cultural” education, that of cultural
institutions. And in these three different levels, you can encounter the same
problems—problems of circuits, long and short. Today, the problem of
education at the level of the family is the short-circuiting of the
relationship between generations through the operations of the media. What is
created between generations are in fact long circuits. What Freud or Groddeck call
the “id” is an unconscious space of long circuits. These unconscious spaces link
generations along very, very long spans of time. What is produced within these
long circuits are the material of the dream, for example, which is at stake in
Freud’s interpretation of dreams, as well as clearly being the matter from
which artists operate and produce. Joseph Beuys is extremely important for me because
he was working on this question of long circuits aligning him in individuated
ways with the past.