Despite their many affinities education and culture are usually considered separate issues, with the former functioning as the delivery mechanism for the latter. The reasons for this derive from divisions set in place by academic disciplines, routines of professional certification, and a fair amount of good old-fashioned intellectual bias. Regrettably, this separation of artists, writers, and critics from school teachers, technical instructors, and college professors is part of a broader scheme of social fragmentation that compartmentalizes public life. Set in place by the bureaucratic impulses of
modernity and the economic drives of the corporate state, the resulting divisions frustrate dialogue and the formation of positive alliances. This difficulty in finding common ground has been a persistent impediment to the advancement of progressive politics. Recent critical theory has further exacerbated the problem by introducing broad based suspicions of totalizing paradigms.
This chapter discusses some of the reasons that cultural practice and teaching have been held apart and proposes the benefits of considering them together. It seeks to establish a broadened definition of cultural “writing” that encompasses all efforts to produce, transmit, and organize subjectivity. It also resuscitates the term “cultural worker” from the lexicon of the 1960s to unite those on the Left involved in the making and sending of texts. This terminology would intentionally frustrate the identification of culture with “art” to extend its definition in sociological and political terms. Although produced in differing circumstances and regimes of legitimization, the generalized substance we call culture is something that all of us fashion in the course of our daily lives as we communicate, consume, and build the world around us. We make it as it makes us.