Collingwood’s concept of corruption of consciousness is introduced, followed by an extended example from art history. While the typical Renaissance nude enabled, or even encouraged, corruption of consciousness on the part of the male spectator, the nudes by Goya and Manet led the viewer to confront his disowned feelings, thus serving as a medicine for the corruption of consciousness. Finally, I examine the role of corruption of consciousness in the treatment of antisemitism in Elia Kazan’s 1947 film Gentleman’s Agreement.

This article defines a possible pragmatist approach to the sociology of emotions by discussing and delimiting the concept of “affective rupture.” According to this approach, emotions emerge from the breaking of habits in the face of the transformation of situations, producing reflexivity and relational adjustments. The pragmatist approach problematizes the “rhythm” of emotions, made up of ruptures, moments of quiet, adjustments, harmonizations, restorations, and relational revolutions. Rhythm is what emotions pragmatically “do,” ordering and transforming every social situation. This article employs (...) this idea to reinterpret some sociological approaches to emotions and, in parallel, to show how the interdependence between affectivity and irruption of events that involve and upset is constitutive of everyone's social behaviors. (shrink)

This paper utilises selective writings by John Dewey and Maurice Merleau-Ponty as the conceptual basis for considering how an enhanced synergistic focus on habit and embodiment could support practice gains in schools. The paper focuses on Dewey’s belief that established habits can help students to incorporate experiences into evaluations of educational progress and Merleau-Ponty’s spotlight on the body-subject, and how it provides a holistic way of conceiving relations that avoid over privileging abstraction and cognition and under-representing the centrality of the (...) body in human experience. We then evaluate the role of language and reflection in relation to habit, embodiment, and education before discussing some of the general educational practice considerations which might improve the quality of students learning experiences. In conclusion, we consider the possibilities for Dewey’s pragmatism to function as a theoretical bridge to Merleau-Ponty’s phenomenology of perception and the nature of experience. We argue that while it is important to recognise points of difference, in relation to philosophical treatments of habit and embodiment, it is also important to consider the overlap and new connections between Merleau-Ponty and Dewey which are valuable to take forward in contemporary education. (shrink)

A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this end and keeping up (...) with the thrust to include other traditions within aesthetics, my article will explore certain strands of Sufi poetry, namely the tradition of Qalandariyat, which present marginalized social identities to our awareness and not for the sake of changing or improving them. I will present some samples from the Persian poetry of Hafez and Rumi, as well as Punjabi couplets of Bulleh Shah and Shah Hussain, for a hermeneutic study that grounds the aesthetics of their Qalandari-themed literature in the usage of “negative” aesthetic categories. This exercise contains the promise of expanding the horizons for our field of sensibilities, by engaging with those social identities that have remained outside them and that too on their own terms. (shrink)

Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by (...) the ongoing expansion of the aesthetic domain, and partly by the fact that many still seem resistant to this aesthetic diversification—which aestheticians seem to avoid: what, if anything, constrains the scope of beauty or the aesthetic? I argue that form, construed as comprising a degree, however minimal, of experienceable complexity, is necessary and sufficient for an object's candidature for the possession of aesthetic properties. Such a condition serves to discriminate between attempts to expand the scope of the aesthetic that are legitimate and those that are not. If correct, my view suggests that the aesthetic realm, though not limitless, is very broad indeed—but this, I think, is as it should be. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention (...) to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

For some Western translators before the twentieth century, domestication was their strategy to translate the classical Chinese poetry into English. But the consequence of this strategy was the sacrifice of the ideogrammatic nature of these poems. The translators in the twentieth century, especially the Imagist poets and translators in the 1930s, overcame the problems of their predecessors by developing their translation theory and practice in ways that are close to those of many contemporary semiotic translators. But both Imagist translators and (...) contemporary semiotic translators have the problem of indifference to the feeling of the original in their translations. For the problem of translating the classical Chinese poetry by the Westerners before the twentieth century and the Imagist poets and translators of the twentieth century, see Zhao and Flotow 2018. This paper attempts to set up an aesthetic-semiotic approach to the translation of the iconicity of classical Chinese poetry on the basis of the examination of both Eastern and Western translation studies. (shrink)

Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...) distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (...) (which supplements him with hermeneutics). My final section defends Castoriadis against these two critical supplements through a close reading of his magnum opus, The Imaginary Institution of Society. There I re-choreograph Castoriadis’ use of the Freudian concept of “leaning on” (Anlehnung, from the Greek anaclisis) as “bending back” (anaclasis, following Klooger’s misspelling of anaclisis). In short, the imagination is like a dancer, bending back to nature understood as “the region which resists” (to varying degrees) the social. (shrink)

Theodor W. Adorno is a gigantic figure in musical aesthetics, and many still consider his views relevant, not only for analyzing the modernist music he was inspired by and that he inspired himself, but also for more contemporary developments in classical music. John Adams is arguably the foremost contemporary composer who has tried to break away from the modernist musical language that was still very much dominant when he began his career as a composer, and he has been very outspoken (...) about his antipathy toward the Schoenbergian-inspired compositional techniques that are at the background of Adorno’s musical aesthetics, particularly his Philosophy of New Music. By presenting an interpretation of Adams’ music that draws on some key aspects of John Dewey’s aesthetics—aesthetic experience, rhythm, and his appreciation of common culture—I raise the question of how relevant Adorno’s seminal book still is for understanding the aesthetics of the new music of today. (shrink)

This essay provides an overview of the ways in which contemporary philosophers have tried to make sense of ineffability as encountered in aesthetic contexts. Section 1 sets up the problem of aesthetic ineffability by putting it into historical perspective. Section 2 specifies the kinds of questions that may be raised with regard to aesthetic ineffability, as well as the kinds of answer each one of those questions would require. Section 3 investigates arguments that seek to locate aesthetic ineffability within the (...) object of aesthetic experiences, i.e. within aesthetic content. Section 4 discusses arguments that seek to locate aesthetic ineffability within the subject of aesthetic experience. (shrink)

This paper uses John Dewey's accounts of education, expression, and art to argue that the relegation of artistic expression to the private sphere in fact, paradoxically, undermines the opportunities for human beings to cultivate their own individual autonomy. Insofar as cultural objects are matters of artistic expression, they have the special quality of potentially drawing the attention of the public to their created and contingent character, provided that they are created in a self-consciously shared political environment. I use Bakhtin's account (...) of the " Carnivalesque " to provide an example of a social and political environment that encourages such social participation, and therefore encourages greater human agency, and use this example to point to criticisms of contemporary culture. (shrink)

This article addresses the ongoing debate between pluralistic and monistic approaches to dealing with critical disagreement. I return to the theory of world hypotheses advanced by Stephen C. Pepper, an understudied figure in aesthetics and pragmatism, to enunciate a version of pluralism that centers on the nature of critical evidence and its functioning in social settings of argument. I argue that Pepper's expansive philosophy holds interesting implications for what can be called the metaphysics of criticism, a point missed by partisans (...) of standard views of pluralism and monism. Building on his analysis of equally autonomous (but noncommensurable) world hypotheses, this study enunciates an explicit notion of rhetorical pluralism that goes beyond simple relativism. This account can be labeled “evidentiary pluralism,” since it internalizes standards for evaluation to specific worldviews and recognizes their changeable nature in the context of critical disagreement. (shrink)

Embodiment as a compelling way to rethink the nature of teaching and learning asks participants to see fundamentally what is at stake within teaching/learning situations, encountering ourselves and our relations to others/otherness. Drawing predominantly on the thinking of John Dewey and Maurice Merleau-Ponty the body's role within teaching and learning is enfleshed through the concrete experiences of one middle-school science teacher attempting to teach for greater student inquiry. Personal, embodied understandings of the lived terms of inquiry enable the science teacher (...) to seek out the lived terms of inquiry in her classroom alongside students. Theories are taken up as working notions for the teacher to examine as philosophical/theoretical/pragmatic processes to be worked with, and concomitantly, working as dynamic practice at the core of the teacher's thinking and experiences. The theory/practice conjuncture of inquiry is thus enfleshed, gaining embodied understandings. Embodiment as the medium enhancing comprehension is evidenced as holding worthy implications for teacher education. Teacher education must fall into trust with the body's role in teaching and learning. (shrink)

The views of John Dewey and Kurt Vonnegut are often criticized for opposite reasons: Dewey’s philosophy is said to be naively optimistic while Vonnegut’s work is read as cynical. The standard debates over the views of the two thinkers cause readers to overlook the similarities in the way each approaches tragic experience. This paper examines Dewey’s philosophic account of time and meaning and Vonnegut’s use of time travel in his autobiographical novel Slaughterhouse-Five to illustrate these similarities. This essay demonstrates how (...) both Dewey and Vonnegut embrace the ameliorative possibilities of art for preserving individuality and meaning in the face of tragic experience. (shrink)

The purpose of this paper is to address Rorty’s critique of Dewey’s notion of experience and to reaffirm a view in which the call to experience is indispensable for a genuinely contingent philosophy. In the first part, I analyze Rorty’s critique of Dewey and show its inconsistency. In the second part, I draw a comparison between their aesthetic views and argue that a true aesthetic experience must consist in the cultivation and creative transfiguration of situational resistances. In the third part, (...) using Jane Addams as an example, I illustrate how at Hull House the resistances provided by the situation were transfigured into original and meaningful aesthetic experiences that touched people’s lives and allowed for a meaningful and intelligent reconstruction. (shrink)

This article reviews and corrects frequent misunderstandings of somaesthetics, the multidisciplinary field of study of the lived body conceived by Richard Shusterman. After responding to an article published in Contemporary Pragmatism, I extend the discussion to cover larger topics of discussion related to somaesthetics and misapprehensions by its critics, including the nature of somatic experience, the role of pleasure, and the relevance of culture. In rectifying mistakes of understanding, it is hoped the effort will foster better understanding and better critique.

This article discusses the relationship between archery and aesthetics, developing two central claims. First, in order to deliver successful results, the archer should attend not only to efficiency, technique and equipment tuning but also to the aesthetic experience; second, archery shooting methods embody and express ‘life-issue’ statements and desires concerning our relationship with the world. Depending on the archer’s shooting style, i.e., depending on the way in which a shot is executed and performed, the archer’s ‘sportive philosophy’ is, so to (...) speak, unfolded and made apparent. Specifically, I will argue that instinctive archery strives for flexibility and versatility toward the environment and with respect to one’s own body, whereas non-instinctive approaches sharpen effectuality and results by flattening the surroundings and limiting one’s own performative freedom. Exploring this idea, I will discuss the aesthetic underpinnings of archery, also showing in which ways different shooting methods lay the ground for irreducible aesthetic experiences of self-expression. (shrink)

The article explores the realm of sport from an aesthetic point of view. Making a sustained physical effort regularly may have a positive impact on our psycho-somatic being and can sustain our health and well-being. But what exactly is this aesthetic component in sport and is it possible that this aesthetic component prevails over other components when it comes to individual sport? Moreover, is this aesthetic component complex in its nature or can it be reduced to some unique underlying principle? (...) These are the main philosophical questions that this article strives to answer by exploring the aesthetic experience proper to sport. Abandoning the much-acclaimed perspective of the spectator (which consists of seeing sport as a spectacle or drama to be enjoyed and judged from a distance) entails that the aesthetic in sport has to be studied from the perspective of an active and individual participator. Ultimately, the article makes the claim that sport is both a way of interacting with one’s environment and a way of aesthetic self-fulfilment which allows the individual to lead a meaningful life rich in aesthetic experiences and events. (shrink)

Several contemporary scholars have embraced the aesthetic resources in the Black Radical Tradition for the purpose of revitalizing the democratic project. Ironically, however, many drawn to the radical potential of fugitive escape are concerned about flight or exodus from the democratic project itself resulting in a defense of politics that constricts the possible benefits of fugitive aesthetics for democratic life. This article draws on the work of Alain Locke, a key figure of the Harlem Renaissance, to suggest another way in (...) which we might follow Black fugitive aesthetics. Through an engagement with Locke, I theorize the notion of a fugitive bearing associated with a set of sensibilities that we might cultivate in order to approach the task of democratic transformation as a “reverent vandalism.” This article also challenges dismissive readings of Locke’s aestheticism by closely reexamining his commitment to expressive autonomy in connection with his theory of democracy. His “New Negro” avant-garde, like the fugitive, remains tethered to political life even while seeking a freedom that is unavailable within the strictures of the standing normative order. (shrink)

ABSTRACT In “Race, Multiculturalism, and Democracy,” Robert Gooding-Williams offers an insight. He writes: “Our sense of ourselves and of the possibilities existing for us is, to a significant degree, a function of the descriptions we have available to us to conceptualize our intended actions and prospective lives…. ‘Hence if new modes of description come into being, new possibilities of action come into being in consequence.’” In this article, I discuss the philosopher's role in the articulation of new descriptions and thus (...) new possibilities. I argue that potential modes of bold and assertive comportment are conjured when new insurrectionist descriptions are articulated within oppressed populations. To bring this to a higher resolution, I discuss the pervasiveness of dialectical conflict, the need to creatively reorient the descriptions of oppressed groups toward liberation, and the need for more than one prescriptive mode of social amelioration. (shrink)

ABSTRACT Dance and music serve in this essay to exemplify both the looping entanglement of art and life as well as the account of art and philosophy developed in Strange Tools. This essay replies to criticisms of Carrie Noland, Nancy S. Struever, and Thomas Rickert and also offers a briefer restatement of the general approach.

The intentionality of improvisation represents surely one of the most pressing and controversial issues in contemporary action theory: how do we find the way to characterize the proper intentionality of improvisation, which is an unplanned yet intentional action? This article will address this question bringing together Merleau-Ponty’s motor intentionality and Bergson’s conception of duration. My argument will unfold in three main stages. First, I will briefly describe the traditional scheme that is used to think of intentional action in contemporary action (...) theory and discuss how the phenomenon of improvisation casts doubts on it. Second, I will outline an initial, and provisional account of improvisation by crossing the descriptions of musical improvisation provided by Jankélévitch with the testimonials of two improvisatory composers—Enrico Pieranunzi and Keith Jarrett—and reports from Charles Rosen, an American pianist and Roger Sessions, an American composer. Finally, I will refine the basic concepts and lay out a phenomenological account of improvisation, by extending and applying the phenomenological notion of motor intentionality to the examples and testimonials gathered from the observation of a specific kind of improvisatory activity—musical composition. This methodology is intended to contrast both with more standard philosophical approaches based on hypothetical examples, and with more standard laboratory-based methodologies in cognitive sciences, psychology, and experimental philosophy. Overall, this approach is intended to redress the balance of action theory—one-sided directed towards planning, as a key aspect of human agency—with an analysis of the bodily and responsive aspect of intentionality. (shrink)

The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...) write about kitsch are no longer against it (Anderson, Olalquiaga). And since the 2000s, art students have been telling us that they “love kitsch”. The contemporary concept is strongly attached to certain colors (pink) and materials (porcelain). In this article I aspire to find some keys on how to view the history and contemporary state of the concept. My hypothesis is that the change in the use of the concept has at least partly to do with changes in the concept of art, which has lately, this is my hypothesis, become sufficiently decentralized from its original roots and boundaries (upper class, male, ethnically Central European). (shrink)

This paper explores how engaging in and with philosophy in the streets has unique and special potential for children doing philosophy both inside and outside the classroom. We highlight techniques drawn from research into the political, social and activist potential of street art, and we illustrate how to apply these techniques in a P4C context in what we call guerrilla philosophy. We argue that guerrilla philosophy is a pedagogically powerful method to philosophically engage students whose ages range from 11-13. In (...) calling attention to the power of guerrilla philosophy to engage students philosophically, we are tacitly assuming a Deweyan philosophical approach, which emphasises the importance of promoting civic-mindedness as a social value; the reliance on imaginative, creative and experiential forms of learning as essential to education ; and a vision of the classroom as an embodiment of the larger civic community to which we all belong and in which we all must cooperate and engage. This paper traces these three themes in Dewey’s philosophical views of education and democracy, and considers how they are given a twenty-first century interpretation through street art, guerrilla philosophy and children’s activism. (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...

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, against Scruton, (...) that music literally and not merely metaphorically moves. (shrink)

Recent years have witnessed a focus on feeling as a topic of reinvigorated scholarly concern, described by theorists in a range of disciplines in terms of a “turn to affect.” Surprisingly little has been said about this most recent shift in critical theorizing by philosophers, including feminist philosophers, despite the fact that affect theorists situate their work within feminist and related, sometimes intersectional, political projects. In this article, I redress the seeming elision of the “turn to affect” in feminist philosophy, (...) and develop a critique of some of the claims made by affect theorists that builds upon concerns regarding the “newness” of affect and emotion in feminist theory, and the risks of erasure this may entail. To support these concerns, I present a brief genealogy of feminist philosophical work on affect and emotion. Identifying a reductive tendency within affect theory to equate affect with bodily immanence, and to preclude cognition, culture, and representation, I argue that contemporary feminist theorists would do well to follow the more holistic models espoused by the canon of feminist work on emotion. Furthermore, I propose that prominent affect theorist Brian Massumi is right to return to pragmatism as a means of redressing philosophical dualisms, such as emotion/cognition and mind/body, but suggest that such a project is better served by John Dewey's philosophy of emotion than by William James's. (shrink)

This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate ‘‘automatic’’ modes of (...) understanding. This account is then critiqued, and contrasted with views on aesthetic experience that stress its nonconceptual and asemiotic aspects, and the close affinity of this modality of experience with perceptual presence and affective intensity, with a clear reference to the phenomenological tradition. Some recent ideas about how semiotic and phenomenological theories regarding art can interact are then cited, and an undertheorized aspect of their connection introduced, which is the main original import of the article. This connection, which is furnished by the concept of aisthetic trait, is derived from psychoanalytic metapsychology, and is an example of how the meaning and presence effects of art can act not just in a competing synchronic fashion, but can morph into each other over time. A trait is a signifier-like perceptual remnant of a prior subjective experience of high intensity that provides a kind of ratification of the experience that endures within the life history of an individual. This is then shown to have relevance to the previous topics of aesthetic negativity and autonomy in terms of the way that the trait mechanism may bring to light important diachronic aspects of aesthetic experience that are currently absent in other accounts in the literature. (shrink)

The study analyzes the theoretical basis of the Philosophy for Children (P4C) program elaborated by Matthew Lipman. The aim is, firstly, to identify the main philosophical and pedagogical principles of P4C based on American pragmatism, and to locate their pedagogization and possible problems in Lipman’s thinking. Here the discussion is especially targeted to the thinking of John Dewey and George H. Mead as well as Lev Vygotsky, whom Lipman himself names as the most pivotal sources for his own thinking. On (...) the other hand, the study aims at opening up new perspectives and thematizations on P4C from the viewpoint of the continental tradition of thought. The essential principles of P4C connected with reasonableness and judgment are ultimately interpreted as a neo-Aristotelian effort to contextualize philosophy by tracing it back to moderation, the man’s ability to consider and solve problems that he meets in practical life kata ton orthon logon — by doing right things in the right place at the right time in the right way. This phronetic idea of ‘humanizing modernity’ combined with the evolution of the adult-child concept is argued to be one of the conditions for the possibility of P4C, yet leaving unsolved the basic problems involving pedagogical action as such. John Dewey’s ideas arising from the critique of the modern philosophy of consciousness, focusing on the significance of philosophy in practical human life and linked to the basic nature of human knowing and intellectual growth and, further, to the ideal of a democratic community, are shown to form the main intellectual sources of P4C. Dewey’s philosophy as a general theory of education means a solid linking of the concepts of experience and inquiry to the practice of education. This is based on the naturalistic conception of man according to which man is built in dynamic transaction with his environment, experiencing the true meanings of his ideas in the consequences of his actions as he tries to solve problematic situations. So, inquiry as a method of reflective thinking forms the basis for education based on intellectual growth. A condition for it is a context meaningful for the child in which the paradigm of inquiry can be realized authentically. It is therefore important in education to provide circumstances that stimulate the child’s curiosity, initiating a process of inquiry that further enables, through the formation of reflective habits, the development of a democratic community. The purpose of the pedagogical interaction taking place in the process of inquiry is to produce educative experiences for the child, making the pedagogical relationship vanish at the same time. The idea is that in pedagogical action the child’s subjectivity, his desire and impulses are adapted to the tradition, yet generating at the same time a prospective, reflective habit, thus freeing the educatee to think intelligently for himself. The study shows the articulation of these principles in Lipman’s practical effort to convert the classroom into a community of inquiry, but it also argues that the above-mentioned Bildung theoretical core problem of pedagogical action, related to its paradoxical special characteristics to produce autonomous subjectivity, is not thematized. In connection with this issue, the educational thinking of Kant and Hegel is discussed especially from the viewpoint of philosophy teaching. To provide a new perspective for the discussion, the study outlines the community of inquiry as an ‘educative space’ from the viewpoints of the pedagogical relationship typical of hermeneutic pedagogy and of non-reflective functional structures and phenomena based on pedagogical intuition that are linked to it. (shrink)

The paper proposes an outline of a reconciliatory approach to the perennial controversy between epistemological realism and anti-realism (constructionism). My main conceptual source in explaining this view is the philosophy of pragmatism, more specifically, the epistemological theories of George H. Mead, John Dewey, and also William James’ radical empiricism. First, the paper analyzes the pragmatic treatment of the goal-directedness of action, especially with regard to Mead’s notion of attitudes, and relates it to certain contemporary epistemological theories provided by the cognitive (...) sciences (Maturana, Rizzolatti, Clark). Against this background, the paper presents a philosophical as well as empirical justification of why we should interpret the environment and its objects in terms of possibilities for action. In Mead’s view, the objects and events of our world emerge within stable patterns of organism-environment interactions, which he called “perspectives”. According to pragmatism as well as the aforementioned cognitive scientists, perception and other cognitive processes include not only neural processes in our heads but also the world itself. Elaborating on Mead’s concept of perspectives, the paper argues in favor of the epistemological position called “constructive realism.”. (shrink)

Defining “criticism” is a simple—but bedeviling—task. No less a critic and theorist than Edwin Black begins with the simple statement that “criticism is what critics do.” While he admits that this seems like an empty definition, Black does note that it has one redeeming feature—“It compels us to focus on the critic” (1978, 4). Criticism and those who engage in it are integrally connected, and any account of critical activity must deal with both the activity and its actor. In this (...) way, it is much like art—one could easily utter that “art is what artists do.” Criticism is often tied to art and its products, so this appears to be a fair way to proceed in an investigation of criticism. Yet I would argue .. (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 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 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)

The most constructive response to the crisis in moral theory has been the revival of virtue ethics, an ethics that has the advantages of being personal, contextual, and, as this paper will argue, normative as well. The first section offers a general comparative analysis of Confucian and Whiteheadian philosophies, showing their common process orientation and their views of a somatic self united in reason and passion. The second section contrasts rational with aesthetic order, demonstrating a parallel with analytic and synthetic (...) reason, and showing that rule-based ethics comes under the former and virtue ethics under the latter. The third and final section discusses a Confucian-Whiteheadian aesthetics of virtue, focusing on love as the comprehensive virtue. The principal goal of the paper is to propose that an appropriation of Confucian virtue ethics will enhance the otherwise slow development of a Euro-American process ethics. (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)

Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”.

In his article Potentialism and the experience of the new, Jasinski argues for the use of a potentialist approach in education by relating it to a line of thought that starts with Dewey and is fulfilled by Agamben and Lewis. Although the reading that Jasinski offers on potentialism is interesting, his understanding of Dewey is problematic. In this paper, I argue that much of what Jasinski claims as worthy of pursuit in education is already contained in the Deweyan questions of (...) newness, openness, and radical possibility. Even the Agambenian notion of ‘coming community’ falls under a Deweyan understanding of society and democracy, which, in Deweyan thought, always exist in suspension and connectedness. Given such premises, the idea of education that emerges from Deweyan thought is that of a leap. The question regarding what education is and entails is left radically open by Dewey, for education belongs to the not-yet. (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 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)

On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...) continental account of a core issue in the philosophy of music. The issues considered are musical experience, musical ontology, and the relationship between music and the emotions. The philosophers considered are Roger Scruton and Pierre Bourdieu, Jerrold Levinson and Lydia Goehr, Peter Kivy, and Andrew Bowie. (shrink)

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’s Art as Experience. The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking to discover what poetic writing does (...) within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life. (shrink)

Meaning in life is too important not to study systematically, but doing so is made difficult by conceptual indeterminacy. An approach to meaning that is promising but, indeed, conceptually vague is Jonathan Haidt’s ‘cross-level coherence’ account. In order to remove the vagueness, I propose a concept of ‘good fit’ that a) captures central aspects of meaning as it is discussed in the literature; b) brings the subject of meaning under the survey of the dynamicist or ‘embodied-embedded’ philosophy of cognition; and (...) c) allows the theoretical discussion on meaning to become more focused and systematic. The article addresses two apparent problems with the idea of ‘good fit,’ namely the fact that both challenges and relations of an agent with the outside world are central to meaning. It is finally pointed out which implications adopting the concept of ‘good fit’ instead of ‘meaning’ would have. (shrink)

This paper explores the association of children and animals as an element in Western culture's symbolic universe. Three historical discourses found in the West associate animality with immaturity and growing up with the transcendence of this condition. The discourses differ in how they describe and evaluate the original animal-like condition of the child versus the socialized end product. All, however, tend to distinguish sharply between the human and the nonhuman. This paper explores expressions of this tendency in developmental theories that (...) set as the criterion of maturity the actualization of some capacity that is believed to set humans apart from animals. Seeing relationships with animals as marginally important in human development and life is a consequence of these assumptions. Simultaneously, these assumptions also marginalize the body. This constitutes a dual renunciation of body and animal, criticized for its effects both on inquiry and on our realization of the roles and values of nonhuman animals in development. Such research can help reveal the self-organizing nature of the human animal body. (shrink)