What are the possibilities for art to provide non-reactionary, productive spaces for pedagogical endeavors? How can culture function pedagogically and critically beyond the continuing constraints of positivism on the one hand and fixed systems on the other? In what ways can art’s impasse open spaces, its weakness move beyond the teleological, and its exit provide pedagogical possibilities beyond its current horizons? These and other such questions about the limitations and potential for pedagogy and culture through the lens of art lie (...) at the core of Baldacchino’s Art’s Way Out: Exit Pedagogy and the Cultural Condition. This review of his work is divided into two overarching sections, a summary of his work and questions that his arguments have raised for this reader, and questions that address the ideas presented in Art’s Way Out and the philosophical tools utilized to make them.Summary, Questions, and ArgumentsAt one level, this work asserts that art is central to pedagogy and p .. (shrink)

This article highlights the distinction between the ‘art of nursing’ and ‘fine art’. While something in the nature of nursing can be described as ‘the art of nursing’, it is not to be misunderstood as ‘fine art’ or craft. Therefore, the term ‘aesthetic’ in relation to nursing should not be linked to the aesthetic of modern art, but instead to a broader and more general meaning of the word. The paper's main focus is the aesthetic experience, which is treated in (...) a hermeneutic way and elucidated from classical sources and the philosophy of nursing and from Art. The paper argues that the pioneers used the term ‘art of nursing’ in a metaphorical way to say something more specific on the nature of nursing. The term illustrates the nurse's ability to practise at the highest possible level of excellence. (shrink)

This paper argues that in foregoing the questions that emerge from the dialectical relationship between form and meaning, an intrinsic fallacy mistakes the relationship between the arts and education for a simplistic mechanism of signification—a false “ease”—where empty forms are supposedly given meaning by ethical and aesthetic givens as if the pedagogy of art were analogous to an empty room that was (or still needs to be) inhabited. Art’s false “ease” presents a tautology that presumes the relationship between the arts (...) and learning on assumptions that force a false equivalence between (a) the perception of implicit causes that constitute a number of externalised artistic attributes (such as creative, critical, and intuitive forms of thinking and making) by which the arts are instrumentalised, and (b) a number of desired effects that are seen as being equal to the relative value that an arts subject (or discipline) commands in a perceived relationship with the world in terms of its use and therefore function. To counter this distortion this paper makes a case for a pedagogical aesthetics that would unlearn—and thereby exit—the educationalist tautology of art’s false ease. While politically this would mean that the arts are recognized in their ability to think and act outside the traditional notion of schooling as a walled polis, philosophically this represents a challenge to move arts education away from the “spatial” concepts by which dialectical narratives, such as those of form and content, have been hitherto assumed as constructivist signifiers. (shrink)

In this essay it is argued that the educational philosophy of John Dewey gains in depth and importance by being related to his philosophy of nature, his metaphysics. The result is that any experiental process is situated inside an event, an existence, a thing, and I try to interpret this “thing” as schools or major cultural events such as the French revolution. This basic view is correlated to Dewey’s concept of transaction, of experience and finally, it is related to a (...) discussion of methods in education. (shrink)

Curiously, while the efficacy of the arts for the development of multicultural understandings has long been theorized, empirical studies of this effect have been lacking. This essay recounts our combined empirical and philosophical study of this issue. We explicate the philosophical considerations that shaped the development of the arts course we studied, which was grounded in rather traditional humanist educational thought, informed by Deweyan considerations for pedagogy and multiculturalism. We also provide an overview of the course and of the study (...) design: the ways in which the course worked to teach aesthetic theory through a combination of popular and canonical works, and the ways in which it sought to instill a sense of cross-cultural appreciation and solidarity among students through the inclusion of art from different cultures and generations. We then share our research findings and our return to the realm of philosophy to interpret them. Our postcolonial analysis incorporates emerging discussions of the arts as a tool for resistance and dialogue within the system of public education, and revisit and reconsider the very concept of education for pluralistic democracy. This approach problematizes traditional conceptions of pluralism, in which an attempt is made to dissolve difference in a common understanding, and instead advocates that works from among the contemporary popular arts and works drawn from the artistic “canon” alike must be considered and employed for their instrumental value to the educational process—especially for their ability to prompt an intersubjectivity that is accompanied by a heightened awareness of difference. (shrink)

This article presents a historical account and philosophical analysis of the development of philosophical aesthetics in China in its Marxist regime, focusing on the relation between subject and object. It enters into the picture of the search for new philosophical aesthetics in Marxist China and engages the related debates and reforms. The representing four schools of aesthetics in the early decades of the new China are introduced, which were led by Gao Ertai, Cai Yi, Zhu Guangqin and Li Zehou. Each (...) of them presents a different relationship between the subject and the object in the aesthetics process and initiates debates and controversies among themselves. In the 1990s aestheticians of the younger generation suggested a modern aesthetics system in which a new aesthetics notion was reconstructed. The article analyzes the nature and the structure of this notion “ganxing”, and demonstrated the struggles in its search for a balance and merge integration among traditional Chinese aesthetics, Contemporary Western philosophies and Marxist aesthetics. Finally, this article also points out the Deweyan influences on the notion which is popular in PRC, and demonstrates that Chinese aesthetics in the contemporary scene has more concerns to add on, which is the application of its new aesthetical thoughts to the rapidly developing art scenes and social changes in contemporary China. (shrink)

We sometimes experience more than we can say, and often it is the "questions" posed by such nondiscursive reality to which feminist writings speak most profoundly. Feminists should therefore decline Richard Rorty's neopragmatist exhortation to forgo all appeals to "women's experience." Invoking an alternative account of pragmatism's import for feminism, I explore the problematic relationship between the experience of being pregnant and the language we use in talking about it.

Dewey's ethical naturalism has provided an exemplary model for many contemporary naturalistic treatments of morality. However, in some recent work there is an unfortunate tendency to presuppose a moral faculty as the alleged source of what are claimed to be nearly universal moral judgments. Marc Hauser's Moral minds (2006) thus argues that our shared moral intuitions arise from a universal moral organ, which he analogizes to a Chomskyan language faculty. Following Dewey's challenge to the postulation of the idea of universal (...) instincts, I argue that Hauser's moral faculty account is (1) contrary to results from recent cognitive science, (2) unnecessary for explaining our moral understanding and reasoning, and (3) counterproductive to the correct project of a non-transcendent, empirically-grounded theory of moral understanding and problem-solving. I provide a sketch of an alternative account of what such an ethical naturalism would involve. (shrink)

Departing from Richard Florida's theory of the Creative Class, this article attempts to delineate the Greek creative ethos. The research involved in-depth interviews with knowledge and service workers in Greece. Adopting an existential view of creativity, which emphasizes the natural human inclination to create and engage with one's acts, and using valuing processes as tools to analyze workers? discourses opens up the elements that underpin workers? efforts to experience authenticity across life spheres and construct the meaning of work and good (...) living. These efforts were sketched against a backdrop of adverse lived realities and intersected with anxious, alienated, and disempowered constructions of selfhood. Contrary to Florida's claims, the present article goes beyond positions of more or less creative workers and examines the various meanings of creativity underpinned by different lived realities. (shrink)

After noting some conditions of historical and contemporary context that favor a dialogue between pragmatism and East‐Asian thought, which could help generate a new international philosophical perspective, this essay focuses on several themes that pragmatism shares with classical Chinese philosophy. Among the interrelated themes explored are the primacy of practice, the emphasis on pluralism, context, and flux, a recognition of fallibilism, an appreciation of the powers of art for individual, social, and political reconstruction, the pursuit of perfectionist self‐cultivation in the (...) art of living, and the crucial role of embodiment in this melioristic pursuit. The last section defends this somaesthetic emphasis against some likely criticisms and closes with an example of how occidental and East‐Asian somatic thinking can be productively integrated. (shrink)

In this essay, I attempt to interpret the educational philosophy of John Dewey in a way that accomplishes two goals. The first of these is to avoid any reference to Dewey as a propagator of a particular scientific method or to any of the individualist and cognitivist ideas that is sometimes associated with him. Secondly, I want to overcome the tendency to interpret Dewey as a naturalist by looking at his concept of intelligence. It is argued that ‘intelligent experience’ is (...) the basic concept of education. I suggest how this concept should be understood. I propose to look at it as an interplay between the faculties of imagination and judgment. (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)

The Richness of Art Education. Howard Cannatella. Rotterdam/Taipei, Sense Publishers 2008. Pp. 136.Pbk. £35.

Richard Rorty, in his ‘Consequences of Pragmatism’ (1982), acknowledging the pragmatic direction taken by both modern and postmodern philosophy, declared that ‘James and Dewey were not only waiting at the end of the dialectical road which analytic philosophy traveled, but are waiting at the end of the road which, for example, Foucault and Deleuze are currently traveling’ (Rorty, 1982, p. xviii). This paper does not aim to establish who traveled the farthest along the road posited by Rorty. Instead, its purpose (...) is to trace a common direction as a sort of pragmatic trajectory that will map a territory constituting Gilles Deleuze’s new image of thought, or rather as he put it, a thought without image. By addressing some of Deleuze’s ideas on thinking and learning, especially with regard to the problematics of sources of knowledge, this paper posits the convergence between his philosophical position and Dewey’s philosophy of education despite the two being seemingly separated by time, place and culture. The paper further shifts the focus from the factual knowledge to an experimental and experiential process of knowing and asserts the latter’s far-reaching implications for education as a developing and generative practice. (shrink)

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

Although we all learn differently, we all need to be able to engage certain fundamental reasoning skills if we are to manoeuvre successfully through life—however we define success. Peirce's philosophy provides us with a framework for helping students develop and hone the ability for making deliberate and well‐considered choices. For, embedded within Peirce's complete body of work is a design for thinking that provides a sturdy foundation for the development of three important learning capabilities. These capabilities are 1) the ability (...) to identify, compare, and contrast qualities, 2) the ability to perform analyses, and 3) the ability to interpret the meaning of signs. Although these capabilities may seem like the sort of skills that only older and academically inclined students can master, even young children and the intellectually challenged can learn to use them as well. Once teachers learn to develop their own intellectual potential by expanding these capabilities within themselves, they will be able to begin bringing about the development of these capabilities in their students. Once identified, developed, and applied to the mastery of educational skills and subject matter, these three fundamental learning capabilities , can form the foundation of a common‐sense approach to educational reform. Peirce asserts that good reasoning must be informed by ethical considerations, which in turn has been informed by the highest of aesthetic impulses. From this, we can extrapolate the importance that an educational model based upon Peirce's philosophy must place upon aesthetic and ethical considerations, as well as logical ones. Once fully understood, the philosophy of education embedded within Peirce's epistemology can revolutionize educational practices at all levels of learning. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor its study is unconditionally or inherently good. The (...) essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

This article highlights the distinction between the ‘art of nursing’ and ‘fine art’. While something in the nature of nursing can be described as ‘the art of nursing’, it is not to be misunderstood as ‘fine art’ or craft. Therefore, the term ‘aesthetic’ in relation to nursing should not be linked to the aesthetic of modern art, but instead to a broader and more general meaning of the word. The paper's main focus is the aesthetic experience, which is treated in (...) a hermeneutic way and elucidated from classical sources and the philosophy of nursing and from Art. The paper argues that the pioneers used the term ‘art of nursing’ in a metaphorical way to say something more specific on the nature of nursing. The term illustrates the nurse's ability to practise at the highest possible level of excellence. (shrink)

In the following pages, and hopefully as a contribution to the philosophy of person, I shall try to: explore the notions of object and subject, and show briefly how these have been presupposed by, and have been articulated through, certain theories of person; suggest an argument for the overlap of object and subject as the ground for a discussion of feeling and experiencing; offer a neologism, coject, and its derivatives, cojective and cojectivity, as a new and fertile ground for the (...) reconstruction of the present social sciences as human sciences. These steps are taken in the main attempt to lay a further basis for the exploration, investigation, description, and analysis of person through the methods of the human sciences. (shrink)

Educational philosophy in English-speaking countries tends to be informed mainly by analytic philosophy common to Western thinking. A welcome alternative is provided by pragmatism in the tradition of Peirce, James and Dewey. Still, the habit of the so-called linguistic turn has a firm grip in terms of analytic philosophy based on the logic of non-contradiction as the excluded middle. A body∼mind approach pertains to the edusemiotic turn that this article elucidates. Importantly, semiotics is not illogical but is informed by the (...) paradoxical logic of the included middle. The process of reasoning is however indirect or mediated; it involves active interpretation (in a variety of forms) versus direct representation; it is analogical and connects what are otherwise doomed to remain isolated substances of body versus mind with a separation of knowledge and action. Analysing and synthesising the philosophies of Charles Sanders Peirce and Gilles Deleuze, together with a brief excursion into the cutting-edge science of coordination dynamics, this article will demonstrate how the body∼mind assemblage is created in practice, and what may be the implications of such a stance for educational philosophy and pedagogical practice. (shrink)

This article elaborates on a view of human subjectivity as open and intersubjectively constituted and discusses it as a presupposition for student's participation in educational situations. It questions the traditional persistent concept of subjectivity as inner and private, the homo clausus, which puts self realization before recognition of the other and individual cognition before mutual meaning. From the perspective of homo clausus participation is thus limited to mere situated activity. A concept of human subjectivity as open and plural, homines aperti, (...) makes it possible to conceptualize educational situations relationally and to take the in‐between as point of departure for understanding pedagogical relationships. Participation can then be understood in terms of involvement in meaning making, knowledge construction and mutual will formation. The relevance of analyzing discrepancies between concepts in educational theory is that they direct our interest and our attention differently. This is also how theoretical understandings work in the praxis of teaching; teachers’ actions are certainly not guided by their theories, but their conceptions about such basic issues as subjectivity and self make some actions and decisions seem more intelligible than others. (shrink)

This article considers the validity and strength of Richard Rorty’s pragmatist theory of interpretation in the light of two ethical issues related to literature and interpretation. Rorty’s theory is rejected on two grounds. First, it is argued that his unrestrained account of interpretation is incompatible with the distinctive moral concerns that have been seen to restrict the scope and nature of valid approaches to artworks. The second part of the paper claims that there is no indispensable relationship between supporting Rorty’s (...) pragmatist theory of interpretation and the important place that is attached to literature in the liberal society outlined by him. A reading of Donald Davidson’s texts on literary language and interpretation implies that an intentionalist theory of interpretation can accommodate those features that Rorty values in literature as well. (shrink)

Recent scholarly comment on the relation between Ralph Waldo Emerson and William James offers an either–or choice between conflating the two thinkers in a proto-postmodern, antifoundationalist cast or dividing them into mutually exclusive categories of idealist believer and relativist skeptic. Contending that neither of these positions captures the pragmatist adumbrations in Emerson or the transcendentalist retentions in James, this essay turns to James's annotations of Emerson's writings as a singularly revealing yet largely neglected source of information about the exact nature (...) of the Emerson–James connection. This evidence points to a pluralistic and distinctly literary formulation of intuitive insight as the key for opening up the Emerson–James relation and for framing it with a precision hitherto missing in discussions of these thinkers. The balance of the essay presents an analytic overview of the various aspects and implications of Emerson's and James's ideas of intuition. Combining doubt and belief, skepticism and faith, realism and idealism, a particular formulation of intuition is the answer that Emerson and James both offer to the problem of modernity—the problem of locating a source of value that is both of the self and beyond the self. (shrink)

Ethical concerns regarding agricultural practices can be found to co-evolve with technological developments. This paper aims to create an understanding of ethics that is helpful in debating technological innovation by studying such a co-evolution process in detail: the development and adoption of the milking robot. Over the last decade an increasing number of milking robots, or automatic milking systems (AMS), has been adopted, especially in the Netherlands and a few other Western European countries. The appraisal of this new technology in (...) ethical terms has appeared to be a complicated matter. Compared to using a conventional milking parlor, the use of an AMS entails in several respects a different practice of dairy farming, the ethical implications and evaluation of which are not self-evident but are themselves part of a dynamic process. It has become clear that with its use, the entire practice of dairy farming has been reorganized around this new device. With a robot, cows must voluntarily present themselves to be milked, whereby an ethical norm of (individual) freedom for cows can be seen to emerge together with this new technology. But adopting a robot also implies changes in what is considered to be a good farmer and an appropriate relation between farmer and cow. Through interviews, attending “farmers’ network” meetings in the Netherlands, and studying professional literature and dedicated dairy farming web forums, this paper traces the way that ethical concerns are a dynamic part of this process of rearranging a variety of elements of the practice of dairy farming. (shrink)

In much theory there is a tendency to place thought above action, or the opposite, action over thought. The consequence of the first option is that philosophy or scientific evidence gains the upper hand in educational thinking. The consequence of the second view is that pragmatism and relativism become the dominant features. This article discusses how different branches of the Aristotelian tradition can mediate between these two views. I argue, contrary to some other Aristotelian approaches, that thinking and action are (...) both separated and yet prerequisites for each other and point to some educational consequences of this way of thinking. To build this argument I draw on selected aspects of the philosophy of Hanna Arendt, Leo Strauss and John Dewey. (shrink)

At the center of every well‐constructed theory of education is a philosophical anthropology‐reasoned speculation as to the origins on man's conditions in the history of culture, especially the particular phenomenon of consciousness that underlies historical periods. Using the lens of one of the most significant theories of culture produced, we examine the philosophical anthropological accounts reflected in the theories of John Dewey and Kieran Egan, which are responsible for their divergent educational plans.

The present study provides an ethnomethodologically informed respecification of intention in the context of architectural education. The analyses focus on the ways in which participants deal with the relation between formulations of intention and designed objects. Claimed mismatches between stated intention and design make relevant instructional sequences elaborating alternative ways of understanding the design and possible routes by which articulated intentions could have been realized. The practice of topicalizing intentions appears to be a technique by which aspects of architectural competence (...) are made visible and instructed. In particular, the practice makes otherwise unattended aspects of the design process accountably available for assessment and remark. Furthermore, the complexities of architectural consequence in relation to individual design decisions are addressed as an instructional matter. The study expands existing work on intention ascription and avowal by examining a setting where participants deal with the intentional status of designed objects. It is argued that the analyzed assessment sequences are shaped and organized with reference to the particularities of architectural knowledge as well as to the educational character of the activity. Their basic logic, however, is grounded in ordinary understandings of action and intentionality. (shrink)

As conceived by founders Matthew Lipman and Ann Margaret Sharp, Philosophy for Children is a humanistic practice with roots in the Hellenistic tradition of philosophy as a way of life given to the search for meaning, in American pragmatism with its emphasis on qualitative experience, collaborative inquiry and democratic society, and in American and Soviet social learning theory. The programme has attracted overlapping and conflicting criticism from religious and social conservatives who don’t want children to question traditional values, from educational (...) psychologists who believe certain kinds of thinking are beyond children of certain ages, from philosophers who define their discipline as theoretical and exegetical, from critical theorists who see the programme as politically compliant, and from postmodernists who see it as scientistic and imperialist. The paper is written as a dialogue in order to illustrate the complex interactions among these normative positions. Rather than respond to particular criticisms in depth, I indicate the general nature of my position regarding them and provide references to published material where they have been made and responded to over the past 40 years. (shrink)

In the face of mounting criticism against advance directives, we describe how a novel, computer-based decision aid addresses some of these important concerns. This decision aid, Making Your Wishes Known: Planning Your Medical Future , translates an individual's values and goals into a meaningful advance directive that explicitly reflects their healthcare wishes and outlines a plan for how they wish to be treated. It does this by (1) educating users about advance care planning; (2) helping individuals identify, clarify, and prioritize (...) factors that influence their decision-making about future medical conditions; (3) explaining common end-of-life medical conditions and life-sustaining treatment; (4) helping users articulate a coherent set of wishes with regard to advance care planning—in the form of an advance directive readily interpretable by physicians; and (5) helping individuals both choose a spokesperson, and prepare to engage family, friends, and health care providers in discussions about advance care planning. (shrink)

In this essay I argue that Reinhold Niebuhr's ethics of self-restraint, though promising, is based on an incomplete and imprecise moral psychology. Although Niebuhr claims that reason cannot provide a sufficient grounding to motivate self-restraint, he does not disclose which human capacity might serve this purpose. I suggest that we can address this oversight by strengthening Niebuhr's tentative embrace of David Hume, and by developing a concept of the emotions in order to explain how human beings can cultivate a stable (...) inclination to self-restraint. This project is informed by and in the service of feminist critiques of Niebuhr and social concerns. (shrink)

This essay interprets the meaning of one of the cards in aTarot deck, "The Magician," in the context of process philosophy in the tradition of Alfred North Whitehead. It brings into the conversation the philosophical legacy of American semiotician Charles Sanders Peirce as well as French poststructuralist Gilles Deleuze. Some of their conceptualizations are explored herein for the purpose of explaining the symbolic function of the Magician in the world. From the perspective of the logic of explanation, the sign of (...) the Magician is an index of nonmechanistic, mutualist or circular, causality that enables self-organization embedded in coordination dynamics. Its action is such as to establish an unorthodox connection crossing over the dualistic gap between mind and matter, science and magic, process and structure, the world without and the world within, subject and object, and human experience and the natural world, thereby overcoming what Whitehead called the paradox of the connectedness of things. The Magician represents a certain quality that acts as a catalytic agent capable of eliciting transmutations, that is, the emergence of novelty. I present a model for process∼structure that uses mathematics on the complex plane and the rules of projective geometry. The corollary is such that the presence of the Magician in the world enables a particular organization of thought that makes pre-cognition possible. (shrink)

It is argued that experiences are complex events that befall their subjects. Each experience has a single subject and depends on the state or the event that it is of. The constituents of an experience are its subject, its grounding event or state, and everything that the subject is aware of during that time that's relevant to the telling of the story of how it was to participate in that event or be put in that state. The experience occurs where (...) the person having the experience is. An experience of an event or state occurs when that event or state makes a difference to its possessor's conscious life, where this difference is either a matter of really knowing what's happening or merely a matter of being affected. (shrink)

In "Two sorts of Naturalism" John McDowell is sketching his own sort of naturalism in ethics as an alternative to "bald naturalism". In this paper I distinguish materialist, idealist and absolute conceptions of nature and of naturalism in order to provide a framework for a clearer understanding of what McDowell’s own naturalism amounts to. I argue that nothing short of an absolute naturalism will do for a number of McDowell's own purposes, but that it is far from obvious that this (...) is his position. If he directly denies that it is, he seems to be left with some rather awkward choices. (shrink)

In the previous chapter ‘The Beauty of Sport', I made a distinction between classical and modernist aesthetics. The classical is exemplified in eighteenthcentury art criticism and its use of the la...

In this article, I propose a business paradigm that allows and enables the integration of environmental ethics into business decisions while creating a competitive advantage through the use of an ethical framework based on classical American pragmatism. Environmental ethics could be useful as an alternative paradigm for business ethics by offering new perspectives and methodologies to grant consideration of the natural environment. An approach based on classical American pragmatism provides a superior framework for businesses by focusing on experimentation and innovation, (...) driving a long-term focus, and providing actionable clarity. Under a pragmatic approach to ethics, the choice for sustainability becomes self-evident for business performance and moral reasons. (shrink)

Every artistic practice implies, either explicitly or implicitly, a metaphysical framework within which its specialized activity can be understood. In furthering communication and sensorial connections, telematic arts interface with computer systems, biotechnological arts interface with biological systems, and sculpted prims interface with metaverse systems. In this article, I review artistic practices that engage preliminary aspects of human enhancement and, in some instances, begin to extend personal existence over space and time. Specifically, this article asks: what is the perception of human (...) enhancement that permeates these artistic works and gives them meaning? Answering this question suggests where artistic media of the cyborg, transhuman and posthuman are potentially headed. (shrink)

Practice commonly develops independent of theory: only rarely does some heritable informational structure knowingly emerge. With this in mind, Biosemiotic theory is well served by an informed synthesis with Constantin Stanislavski’s theatrical technique. For it is not enough merely to catalog signage by studying the consequence of its function, we also seek to generate signs with knowing intent. This implies more than the strategic use of signs, which all complex living things do, and of which our many subjective selves emerge. (...) It calls for an objective artifice of signs, that is, some set of techniques competent to produce subjectivity, and capable of being objectified such that it can become a knowable standard. This is precisely what Stanislavski offers, ways of knowingly creating novel, actual, believably generative, signs. Within the realm of human action and in terms of human knowing, he positively exemplifies applied semiotic theory: his approach to dramatizing fictional characters also expresses how self-consciousness comes to be. What Stanislavski implies, Charles Tilly presumes and this essay asserts: our own biotic evolution has been influenced by post-biotic or metaphoric evolution, which results from the ‘living’ interaction of certain classes of non-living things. These derive from the pragmatic a priori made implicit by Chauncey Wright, which is the motivation of living things to act on specific needs within specific situations. The need to breathe is one example; the need to make competent use of existing epistemic structures is another. But such structures have their own needs, and ‘act’ to fill them. When this is compounded culturally, it may result in self-consciousness – a self-constructed artifice of semiosis with great consequence to biotic processes. Tilly supplies evidence that such compounding happens within human society, as well as a theoretical basis for its expression as a semiotic sociology. This essay uses pragmatic semiotics to explore the strong parallels that exist between the deliberately objective motivations upon which science, sanity and self-consciousness all depend, Stanislavski’s practicable artifice of signaling pathways and social emergence, and Tilly’s approach to society as ongoing performance. (shrink)

This paper surveys the ontological and aesthetic character of puzzles in worlds with storytelling potential, storiable worlds (potential storyworlds). These puzzles are termed fiction puzzles. The focus is on the fiction puzzles of videogames, which are accommodated to John Dewey's pragmatist framework of aesthetics to be examined as art products capable of producing aesthetic experiences. This leads to an establishing of analytical criteria for estimating the value of fiction puzzles in the pragmatist framework of aesthetics.

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...) that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

In the target article, Juslin & Vll (J&V) contend that neural mechanisms not unique to music are critical to its capability to convey emotion. The work reviewed here provides a broader context for this proposal. Human abilities to signal emotion through sound could have been essential to human evolution, and may have contributed vital foundations for music. Future learning experiments are needed to further clarify engagement underlying musical and broader emotional signaling.

This article draws on Hannah Arendt’s analysis of authority in education, along with her insights into the workings of the imagination and the thinking process, to argue that participation in education should be conceived as an invitation to become towards the world. The potential of this invitation, the article argues, is located in the educator’s imaginative and thoughtful responsibility to receive the young as they are and as they are becoming on the one hand, and to represent the world to (...) them, on the other hand. The ways in which this potential can be negated are examined in relation to Arendt’s accounts of non-thinking and wilfulness. The article advances to the conclusion that participation in an education is possible only where young persons are received by educators who are persistently awake to their responsibility to receive the young people they educate anew. (shrink)