This research investigates the ontological, historical, and institutional conditions of the relationship between technology and education, departing from the proposition that education is itself a particular (and beautiful) form of technological praxis. Schools and teaching do not merely employ technical instruments; they constitute pedagogical relations through their own spatial, temporal, material, and mediating techniques. From this perspective, the machine is approached not simply as a tool but as a technical apparatus organising social and pedagogical relations, with particular attention to digitalisation, artificial intelligence, and algorithmic forms of governance (technoregimes) in education.

The central questions concern the pedagogical assumptions embedded in technological systems, their role in transforming the subjects of teachers and students, and the possibilities for exercising pedagogical autonomy and judgement in relation to technological rationalities. Combining critical philosophy of technology, discourse analysis, and experimental pedagogical design, the research treats the imperatives of innovation, optimisation, and automation themselves as objects of inquiry. Its broader aim is to investigate the conceptual and practical possibilities of scholastic technologies and arrangements in which modifying, suspending, destituting, or refusing technology remains as legitimate an educational decision as employing it.

The research departs from the ontological and philosophical proposition that education is, in its very essence, an artistic praxis, irreducible to the logics of scientific knowledge, technical problem-solving, or social reproduction. Conceiving teaching as an art does not mean applying artistic methods to educational practice, but rather investigating how the educational relation comes into being as a distinctive form-creating activity. At its heart, the research is an attempt to reconceptualize the relationship between the teacher, the student, and the things of a common world, with particular attention to developing an artistic understanding of pedagogical love, authority, testimony, the gift, encounter (and so forth).

Philosophical and, from time to time, psychoanalytic inquiry is complemented by experimental research conducted in laboratories embedded in university teaching practice. The central question is how teaching might become an event of profanation, thereby opening our common world to new uses and possibilities beyond predetermined outcomes. The research aims to develop a philosophy of education that articulates the relationship between the pedagogical "lalanguage" and the existence of the teacher as artist, while exploring forms of educational study and teacher education in which teaching is not merely a field for the application of research, but itself constitutes a distinctive (artistic) mode of thought and knowledge production.