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)

Critics of Dewey’s metaphysics point to his dismissal of any philosophy which locates ideals in a realm beyond experience. However, Dewey’s sustained critique of dualistic philosophies is but a first step in his reconstruction and recovery of the function of the metaphysical. Detaching the discussion of values from inquiry, whether scientific, philosophical or educational, produces the same end as relegating values to a transcendent realm that is beyond ordinary human discourse. Dewey’s naturalistic metaphysics supports his progressive educational philosophy. The duty (...) of education is grounded in its service to democracy; it must help students develop the ability to express, discuss, and develop their moral reasoning through experiential and experimental learning. (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)

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)

John Dewey has been portrayed as a sort of villain in Rosenow's (1997) article which appeared in this journal, apparently because he was unfairly opposed to God and to religion, and also because he deliberately usurped religious language to 'camouflage' his secular ideas. By drawing mainly upon similar sources but with some important additions, I wish to challenge the four major concerns raised in Rosenow's article and in doing so aim to offer an alternative interpretation. It is understood here that (...) Dewey's approach to religion was not so much religious as it was 'spiritual' and while developing and changing throughout his writings, his ideas on spirituality nevertheless were thoroughly entwined with his other views, especially those dealing with education, science and democracy. (shrink)

In this paper I examine a controversy ongoingwithin current Deweyan philosophy of educationscholarship regarding the proper role and scopeof science in Dewey's concept of inquiry. Theside I take is nuanced. It is one that issensitive to the importance that Dewey attachesto science as the best method of solvingproblems, while also sensitive to thosestatements in Dewey that counter a wholesalereductivism of inquiry to scientific method. Iutilize Dewey's statements regarding the placeaccorded to inquiry in aesthetic experiences ascharacteristic of his method, as bestconceived.

This article explores the transformation of ethics in a globalizing technological society. After describing some basic features of this society, particularly the primacy it gives to a special type of technical rationality, three specific influences on traditional ethics are examined: (1) a change concerning the notion of value, (2) the decreasing relevance of the concept of axiological hierarchy, and (3) the new internal architecture of ethics as a net of values. These three characteristics suggest a new pragmatic understanding of ethics. (...) From a pragmatic perspective, the process of introducing ethical values into contemporary society can be regarded as a beneficial Trojan horse, a metaphor that will be developed further. (shrink)

In recent decades, the shift towards the “learnification” of educational discourse has de facto reframed educational purposes and schooling practice, thus reframing what students should know, strive for, and, in a sense, be. In this paper, given the efforts to disrupt the dominance of learning discourse, I seek to engage regarding a specific concern, namely, the progressive removal of imagination within educational official framework. Indeed, imagination has virtually disappeared from the documents, publications, web pages and recommendations of major educational agencies (...) and institutions worldwide, with important and potentially damaging consequences for schooling, teaching and learning. Employing a Deweyan perspective, I argue that imagination plays a crucial role in the creation of pivotal educational features and phenomena, such as knowledge, inquiry, choice and deliberation, critical agency, meaning creation, and, importantly, the openness of possibilities. Therefore, the eclipse of imagination becomes, at the very same time, the eclipse of education; nurturing imagination is about nurturing education. (shrink)