ABSTRACTIn this essay, I will argue for an understanding of justice that is grounded in our imperfect world by drawing upon the works of John Dewey and the Classical Daoist philosophers. It will require a reconstructed understanding of persons as a field/continuum of interrelations and an updated understanding of human action and agency. This understanding of justice takes the form of non-coercive action, interaction that respects the particularity of each lived situation. The practice culminates in an ability to respond to (...) the environment considered to be ziran or ‘self-so’ by the Daoist Philosophers. As described in the Dao De Jing, it is the cultivation of the ‘Three Jewels of the Dao’, the most central of them being compassion making, this practice of justice as non-coercive action also understandable as the practice of compassion as described by the Classical Daoist philosophers. (shrink)

This article constructs a theory of moral cultivation from the writings of John Dewey. Examining his early work in ethics, I argue that the goal of moral cultivation for such a Deweyan scheme is an individual who is attentive and engaged with the particulars of her situation. I then sketch an account of art's moral value and its connection to attentiveness, intimating a way to dissolve longstanding problems in the philosophy of art.

In this paper, I argue that Dewey’s pragmatist aesthetics, and in particular, his concept of consummatory experience, should be engaged anew to rethink the merits of the Philosophy for Children programme, which arose in the 1970s in the US as an innovative educational programme that aims to use philosophy to help school children improve their ability to become more conscious of and make judgments about the aspects of their experience that have ethical, aesthetic, political, logical, or even metaphysical meaning. Although (...) an international success, the PFC programme has attracted many criticisms from a variety of directions. I claim that Deweyan concept of consummatory aesthetic experience is broad and flexible enough to provide a robust framework to make sense of the pedagogical horizon of PFC and therefore fruitfully engage the various critics of the movement coming from religious and social conservatives, educational psychologists, critical theorists, postmodernists/posthumanists, and professional philosophers themselves. The goal of this paper is to offer in a preliminary fashion the basic elements of Deweyan pragmatist aesthetics, which was principally elucidated in his Art as Experience, to defend PFC as a viable pedagogy. (shrink)

The concept of experience by John Dewey revisited: conceiving, feeling and “enliving”. Dewey takes a few steps towards a differentiation of the concept of experience, such as the distinction between primary and secondary experience, or between ordinary (partial, raw, primitive) experience and complete, aesthetic experience. However, he does not provide a systematic elaboration of these distinctions. In the present text, a differentiation of Dewey’s concept of experience is proposed in terms of feeling, “enliving” (a neologism proposed in this paper) and (...) conceiving. Feeling refers to the basic mode of experience where action, emotion, cognition and communication constitute an original unity. Enliving, aesthetic experience, constitutes the lifeworld, as a person-in-world experience. Even though enliving is holistic and relational, a certain distance emerges between action, emotion and cognition which allows contemplation and choice. Conceiving, on the other hand, refers to the isolating and abstracting understanding of the world with even greater distance between action, emotion and cognition. Such a differentiation provides a clearer understanding of the scope of education. It avoids the risks of regressive tendencies in the concept of experience, and it helps to include conceiving within the realm of experience. (shrink)

Reflective practice is one of the most popular theories of professional knowledge in the last 20 years and has been widely adopted by nursing, health, and social care professions. The term was coined by Donald Schön in his influential books The Reflective Practitioner , and Educating the Reflective Practitioner , and has garnered the unprecedented attention of theorists and practitioners of professional education and practice. Reflective practice has been integrated into professional preparatory programmes, continuing education programmes, and by the regulatory (...) bodies of a wide range of health and social care professions. Yet, despite its popularity and widespread adoption, a problem frequently raised in the literature concerns the lack of conceptual clarity surrounding the term reflective practice. This paper seeks to respond to this problem by offering an analysis of the epistemology of reflective practice as revealed through a critical examination of philosophical influences within the theory. The aim is to discern philosophical underpinnings of reflective practice in order to advance increasingly coherent interpretations, and to consider the implications for conceptions of professional knowledge in professional life. The paper briefly examines major philosophical underpinnings in reflective practice to explicate central themes that inform the epistemological assumptions of the theory. The study draws on the work of Donald Schön, and on texts from four philosophers: John Dewey, Nelson Goodman, Michael Polanyi, and Gilbert Ryle. Five central epistemological themes in reflective practice are illuminated: (1) a broad critique of technical rationality; (2) professional practice knowledge as artistry; (3) constructivist assumptions in the theory; (4) the significance of tacit knowledge for professional practice knowledge; and (5) overcoming mind body dualism to recognize the knowledge revealed in intelligent action. The paper reveals that the theory of reflective practice is concerned with deep epistemological questions of significance to conceptions of knowledge in health and social care professions. (shrink)

This paper is an argument for drawing creative practice to the center of philosophical aesthetics. Such an approach would engage philosophical problems that originate from artistic practices. It would also give aesthetics a role in the cultivation of creative practices, both inside and outside of traditional artistic fields. As such aesthetics would begin to engage questions that are pertinent to creativity and the enhancement of artful living.

This symposium provides five case studies of the ways that John Dewey's philosophy and practice were influenced by women or "weirdoes" (our choices include F. M. Alexander, Albert Barnes, Helen Bradford Thompson, Elsie Ripley Clapp, and Jane Addams) and presents some conclusions about the value of dialoging across difference for philosophers and other scholars.

In this paper, I argue that Dewey’s ultimate solution to the mind-body problem is grounded not in his emergentist metaphysics per se but rather in his metametaphysical qualitative naturalism. The latter precedes Dewey’s emergent theory of mind, as postulated in his Experience and Nature. Thus, Dewey’s emergentism is rather a consequence of his qualitative naturalism. As such, Dewey’s ultimate metametaphysical solution to the mind-body problem precedes his emergentist metaphysics, and not vice versa. The essence of Dewey’s qualitative naturalism can be (...) captured in a maxim “Quality first, quantity second!” which is an alternative to Galileo’s quantitative naturalism with the maxim “Quantity first, quality second!”. (shrink)

Using both Confucian texts and the work of American pragmatist John Dewey, this book offers a distinctly Confucian model of democracy.

Cross-cultural dialogue between the Kyoto School of modern Japanese philosophy and the classical pragmatist tradition in American philosophy can help educators to clarify aims for greater ecological responsiveness in moral education. This dialogue can contribute to meeting an urgent practical need to cultivate ecological imagination, and an equally practical need to make theoretical sense of the way in which ecological perception becomes relevant to moral deliberation. The first section of this chapter explores relational thinking in the Kyoto School and American (...) pragmatism to help develop, in the second section, a concept of ecological imagination. A fine-tuned ecological imagination is a capacity we already count on in our best environmental writers, educators, scientists, and policy analysts. Moral deliberation enlists imagination of a specifically ecological sort when the imaginative structures we use to understand ecosystemic relationships shape our mental simulations and what John Dewey calls our “dramatic rehearsals.” The final section draws from the foregoing to clarify some appropriate aims for contemporary moral education. Enriched through cross-cultural dialogue about the relational networks in which our finite lives are embedded, a finely aware ecological imagination can make the deliberations of the coming generation more trustworthy. (shrink)

In this essay I discuss the relationship between naturalism and culture by drawing on the aesthetic notions of two leading pragmatists, John Dewey and Richard Rorty. Rorty’s view of the cultural significance of metaphor, which is based on Donald Davidson’s theory of metaphor, centers on the distinction between a naturalistic and an idealistic view of the cognitive value of metaphor. I then discuss the development from idealism to naturalism in Dewey’s view of the imagination and the parallels that may be (...) drawn between Dewey’s and Rorty’s views, particularly regarding the latter’s critique of idealism and its failure to provide a credible philosophical understanding of culture. In the final section I outline a naturalistic view of the emergence of culture based on Dewey’s notions of rhythm and rite as presented in his classic work Art as Experience. (shrink)

Unlike our counterparts in Europe who have rewritten their specific cultural philosophical heritage, American feminists have not yet critically reappropriated our own philosophical tradition of classical American pragmatism. The neglect is especially puzzling, given that both feminism and pragmatism explicitly acknowledge the material or cultural specificity of supposedly abstract theorizing. In this article I suggest some reasons for the neglect, call for the rediscovery of women pragmatists, reflect on a feminine side of pragmatism, and point out some common features. The (...) aim is to encourage the further development of a feminist revisioning of pragmatism and a pragmatist version of feminism. (shrink)

This paper examines the role of ?situations? in John Dewey's philosophy of logic. To do this properly it is necessary to contrast Dewey's conception of experience and mentality with views characteristic of modern epistemology. The primary difference is that, rather than treat experience as peripheral and or external to mental functions (reason, etc.), we should treat experience as a field in and as a part of which thinking takes place. Experience in this broad sense subsumes theory and fact, hypothesis and (...) evidence, reason and observation, thought and perception. Logic in this view is a formal study of the generic features of all possible kinds of experience in this broad (thick, deep, wide, multifaceted) sense. The goal of this paper is to explain what Dewey thinks a situation is in the context of this view of experience, and to argue for the fundamental importance of that idea for logic and philosophy in general. (shrink)

In this paper, I address the motivation gap that prevents many people from acquiring and activating environmental values. In the face of this gap, I analyze Aldo Leopold’s conservation philosophy as a potential solution. This is done by reading Leopold through John Dewey’s theory of aesthetic experience, in which motivated action develops out of unified aesthetic experience made up of three phases: action, emotion, and intelligence. Showing that Leopold’s approach to conservation exhibits this aesthetic structure not only gives it a (...) clearer organization but promotes its use for rectifying the severe lack of environmental conscience and practice in society. (shrink)

Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ‘is sport art?’ and ‘are aesthetics implicit to sport?’, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, I will argue that (...) embodying pragmatic conceptions of art as its ideal metaphor re-opens space to best realize the deep potential of sport as a meaningful human practice. (shrink)

This paper examines the different conceptions of personal renewal offered in the writings of John Dewey and Stanley Cavell. Both conceptions, I suggest, can be seen as attempting to reconcile the quest for self-realization with democratic life through a poetic, essentially Emersonian vision of the self as a continual work-in-progress. Accordingly, the kinds of selves that Dewey and Cavell seek are in the end highly compatible. Yet it seems clear too that Dewey and Cavell also stand in a somewhat different (...) relation to the Emersonian tradition, and thus diverge in important ways as to the most preferable means of personal renewal. While Dewey tends to focus on the extensive workings of embodied habit, Cavell's ``Emersonian Perfectionism'' takes a more distinctively linguistic turn. After showing the strengths and weaknesses of each approach to personal renewal, I prevail upon the need for educational environments that recognize both the discursive and nondiscursive dimensions of reconstructing the self. (shrink)

The purpose of this article is to develop a critical and extended understanding of creative practices in organisation from a phenomenological point of view. To develop such an understanding of practice, this paper will first outline a phenomenological understanding of creative practice, understood particularly with Merleau-Ponty as an embodied and situated nexus of action. Subsequently, the paper will show the contribution of pragmatism to an interpretation of practice as an experience-based reality and will describe the significance of habits. After briefly (...) comparing common characteristics of both pro-experiential philosophies, some perspectives on a creative "inter-practice" and an inclusive "pheno-pragma-practice" will be explored. Furthermore, improvisation is discussed as a form and medium for the actual realisation of an embodied, situational inter-practice. Finally, some practical, political, theoretical and methodological implications and perspectives on creative pheno-pragmatic practices in organisation will be outlined. (shrink)

In this expansive and highly original two-volume work, Jim Behuniak reformulates John Dewey's late-period "Cultural turn" and proposes that its next logical step is an "intra-Cultural philosophy" that goes beyond what is commonly known as "comparative philosophy." Each volume models itself on this new approach, arguing that early Chinese thought is poised to join forces with Dewey in meeting an urgent cultural need: namely, helping the Western tradition to correct its outdated Greek-medieval assumptions, especially where these result in pre-Darwinian inferences (...) about the world. Relying on the latest findings in Chinese philosophy, these volumes establish "specific philosophical relationships" between Dewey's ideas and early Chinese thought for this purpose, showing how together they can assist us in getting our thinking "back in gear" with the world as it is currently known through the biological, physical, and cognitive sciences. Volume One: Dao and Nature engages Dewey with themes generally associated with "Daoism," and includes discussion of the organization of organic form, teleology, cosmology, knowledge, the body, and technology. Volume One thus works to establish "Chinese natural philosophy" as an empirical framework in which to consider the cultural-level phenomena examined in Volume Two: Dao and Culture. (shrink)

In this article I argue that Dewey, throughout his work, conducted a systematic dismantling of the concept of rationality as mastery and control. Such a dismantling entails, at the same time, the dismantling of the auto-grounded subject, namely, the subject that grounds itself in the power to master experience. The Deweyan challenge to Western ontology goes straight to the core of the subject’s question. Dewey not only systematically challenged the understanding of thinking as a process consciously managed by the subject (...) but also conceived of thinking as an event rather than a process—something that occurs in us rather than something intentionally staged by a reflective subject. Such a twofold dismantling of rationality and subject rather than a flow in a nihilistic/relativistic account of education results in a reinforcement of education that must be understood not so much as the attempt to understand and predict experience but as the means to create new, unpredictable experience. As a result, education, for Dewey, is grounded on, moved by, and directed at uncertainty. Education, in a sense, engenders uncertainty. (shrink)

In order to set up a dialogue the author, first, will attempt to discern similarities and differences between the ideas of Gregory Bateson and those of the so-called Pragmatist philosophers, John Dewey and William James. Second, he will address connecting points and relevance to intercultural communication training and teaching. For both sides aesthetics are of central importance, for Bateson, coming from the direction of systems, more in the observation of the pattern that connects. For Dewey, the aesthetic experience is embedded (...) in the context potentially in any situation. For both Dewey and James human and other organisms actively experiencing environments as situations are the beginning and the end of any philosophy of pragmatic significance. For Bateson, the addition of aesthetics to ecology is necessary to highlight its global significance. (shrink)

This thesis is concerned with establishing a bridge between matters of aesthetics and epistemology, by investigating the mechanisms through which artworks allow agents to derive knowledge through the former’s manipulation. It is proposed that, in order to understand the epistemic potential of artworks, we need to approach them as diagrams, in the sense developed by Charles Peirce. The background upon which the arguments are developed are mainly those of American Pragmatism – with a special emphasis on primary literature from Charles (...) Sanders Peirce about semiotics and inquiry, and John Dewey about aesthetics. It is introduced that the manipulation upon artworks can be an example of an inquiry process, due to artworks’ diagrammatic symbol-type-token structure, which embody the logical relations of abduction, deduction and induction. Through Peirce’s definition of inquiry, and Dewey’s definition of an aesthetic experience, it is possible to defend that artworks deliberate create states of doubt and chance as to stimulate and guide inquiry as a way to achieve an aesthetic experience, corroborating to the claim that inquiry processes and aesthetic experience share the same ontological basis: it is in the nature of aesthetic experience to confront agents and contexts with state of chance and doubt, to be further guided through inference into a state of regularity and belief. In order to develop and test the argument, I present the development of Arthur Danto’s influential theory of aesthetics based on Andy Warhol’s Brillo Boxes, by focusing on a review of Danto’s main writings about it. The central point that Danto developed in this theory is that what gives something the status of an artwork are not the immediately perceivable sensorial features of an artifact, but something else. I claim it to be a “diagrammatic structure” that can be potentially manipulated through an inquiry process. I conclude by establishing a possible development of my argument in relation to modelling processes: as diagrams, artworks can be understood as models, opening room for the emergence of new hypothesis and conjectures about the relationship between aesthetics and epistemology. (shrink)