Digitalization reveals the world in new varieties and forms. This power to unveil not only transforms human outreach and actions, but also changes our conceptions; about whom we are, about our uses and about human horizons for sense-making. In this paper, I explore experience design and the aesthetic turn in contemporary research in human–computer interaction and interaction design. This rather recent interest in aesthetic experience is in my view a move away from a view of digitalization as instances of objects (...) aligned in networks, with certain features, qualities and properties, towards an understanding of digitalization as a relation to the world, to itself, and to what it means to be human (e.g. Technology and the character of contemporary life. A philosophical inquiry. The University of Chicago Press, Chicago, 1984, Holding on to reality. The nature of information at the turn of the millennium. The University of Chicago Press, Chicago, 1999; Questioning technology. Routledge, New York, 1999; The question concerning technology and other essays. Harper and Row, New York, 1977; Technology and the lifeworld, from garden to earth. Indiana University Press, Bloomington, 1990). As such my attempt in this text is to outline a conceptual account concerning what it might mean to designate digitalization as experienced rather than as what we traditionally think of it—as a cause of what we perceive. The paper is based on some previous work suggesting that a focus on the beauty of digitalization (i.e. the beast) entails the possibility to investigate ambiguous meanings of digitalization, meanings that are intrinsic to digitalization but have so far received little or no attention. My suggestion is that there are aesthetic and/or sublime dimensions inherent in digitalization that involves the realization of meaning that are becoming increasingly important in both use and design of digital materials. Hence, the particular focus on aesthetics as implied by the title of this text refers to a pervasive quality harbouring meaning that through a phenomenological lens could be regarded as the material basis of digitalization. The paper concludes that it is crucial to conduct more thorough studies of the relationship between aesthetics and digitalization if we are truly interested in exploring the potential of digitalization in our lives. (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 article investigates the relationship between moral judgments, fallibility, and imaginative insight. It will draw heavily from the canon of classical American philosophy, the members of which (from Ralph Waldo Emerson, to C.S. Peirce, E.L. Cabot, to Jane Addams, to John Dewey) took up this relationship as pivotally important in moral theorizing. It argues that the process of hypothesis formation—characterized as “insight” by Emerson and extended by Peirce in his notion of “abduction”—is a necessary condition of moral progress for it (...) allows individuals to think through the boundaries of social and ethical life. In a world of unexpected occurrences and uncertainty, the ability to generate novel explanatory frameworks and normative ideals is a crucial, if normally underappreciated, moral faculty. This paper attempts to respond to this relative neglect. (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 explores the centralpragmatist and feminist philosophical assumption thatknowers can not be separated from what is known, thatthere is a dialectical relationship between socialbeings and ideas that is dynamic, flexible, andreciprocal. The author seeks a closer examination ofconstructive thinking in relation to the practice ofthinking constructively within social communities. She discusses social communities that constructknowledge as radical democratic communitiesalways-in-the-making, and the skills of communicatingand relating which help knowers be able to activelyparticipate in the construction of knowledge. Giventhe fallibility of (...) the pluralistic subjects, she showsthe importance of addressing cultural influences andpolitical power in theories about thinking. Sheargues for the value of embracing pluralistic anddemocratic commitments on epistemological grounds aswell as moral grounds. (shrink)

Contrary to the assumptions of those who pair Dewey and Piaget based on progressivism's recent history, Dewey shared broader concerns with Vygotsky (whose work he never read). Both Dewey and Vygotsky emphasized the role of cultural forms and meanings in perpetuating higher forms of human thought, whereas Piaget focused on the role played by logical and mathematical reasoning. On the other hand, with Piaget, Dewey emphasized the nurture of independent reasoning central to the liberal Protestant heritage the two men shared. (...) Indeed, Dewey's broad theorizing of democracy's implications for schooling can be seen to integrate the research emphases of the two psychologists. (shrink)

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

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)

Experiences in the heart is one matter and literary writing is another: Toegye (1501-1570, a famous Korean Confucianist), however, would rather regard the two as a completely unified process, which amalgamates an immanent quality and a literary style, without isolation between them. Toegye stressed and valued the purity of the first experience, i.e., the filtered and the purified in the heart, which would flow into the second experience and purify it as well, ultimately cultivating it into a complete aesthetic experience. (...) Poetry should be solely triggered by positive emotions, being aesthetically clear and pure, with no extravagance inside. A plain and ordinary style of literary writing is thereby formed and is regarded as a natural access of transcendence to a philosophical, ethical, and aesthetic connotation which is pure, rich, and profound, 'shaping to Sagehood' in Confucianism. Emotion plays the role of a cementing force that unifies all these factors and sections for life aestheticization. (shrink)

This article explores how De-sign can be utilized as a navigational trajectory toward the integration of cultural sensitivity and environmental sensibility. It affirms that intentionality makes it possible for human beings to make meaning of their world. Navigating through trajectories for the purpose of seeking desired outcomes is a reiterative de-sign process that is constantly adjusting pragmatically. Because de-sign outcomes are only invariant aspects of the unfolding process of synechism and palingenesia, every de-sign situation is a unique journey toward infinite (...) possibilities of creation. De-signers, as agents of intentional change, become envoys of meaning-making that can integrate cultural sensitivity and environmental sensibility. De-sign intentionality makes our trajectories move toward envisioning a meaningful reality, one that goes beyond the schism between culture and nature, between built environment and natural environment. Trajectories innate to the de-sign process transform us into not only lifelong-learners competent of questioning absolute knowledge but also changing agents capable of moving beyond merely being inquisitive, to being reflective, contemplative knowers, genuinely integrating all aspects of the great biosemiosphere. (shrink)

This paper focuses on the importance of wonder in human flourishing and is orientated towards the dynamics between the two, but with an emphasis on how the former is important for illuminating the latter. It begins with a preliminary sketch of both wonder and human flourishing and subsequently moves on to highlight three aspects of human flourishing: 1) ‘Individuality’, 2) ‘Relations’ and 3) ‘The political’, and why these play to wonderment.

This short paper is an attempt to intersect my reading of Alexander Kremer’s key ideas in his article Pragmatists on the Everyday Aesthetic Experience with my previous thoughts on banality as an aesthetic quality experienced by the modern subject in her everyday life. My contribution tries to interconnect key theoretical and artistic conceptions of banality with Shusterman’s somaesthetics and subsequently to reveal another possibility of rethinking the relationship between aesthetics and ethics.

This paper considers some foundational concepts in ecological psychology and in enactivism., and traces their developments from their historical roots to current preoccupations. Important differences stem, we claim, from dissimilarities in how embodied experience has been understood by the ancestors, founders and followers of ecological psychology and enactivism, respectively. Rather than pointing to differences in domains of interest for the respective approaches, and restating possible divisions of labor between them in research in the cognitive and psychological sciences, we call for (...) a deeper analysis of the role of embodiment in agency that we also undertake. Awareness of the differences that exist in the respective frameworks and their consequences, we argue, may lead to overcoming some current divisions of labor and responsibility, and contribute to a more comprehensive and complementary way of dealing with a broader range of theoretical and practical concerns. While providing some examples of domains, such as social cognition and art reception, in which we can observe the relative usefulness and potential integration of the theoretical and methodological resources from the two approaches, we demonstrate that such deeper synergy is not only possible but also beginning to emerge. Such complementarity, as we envisage, conceives of ecological psychology that allows felt experience as a crucial dynamical element in the explanations and models that it produces, and of an enactive approach that takes into consideration the ubiquitous presence of rich directly perceived relations among variables arising from enactments in the social and physical world. (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)

The purpose of the thesis is to put forth and explore a notion of teaching as a practice of attention formation. Drawing on educational philosophy and the Didaktik/Pädagogik-traditions, teaching is explored as a relational and lived-though practice that can promote, form, and share attention. In the context of teaching, attention is connected to the acts of showing and observing. As such, teaching can be seen as a complex of relations that emerges through the intersection of the intentions of the one (...) who is showing and the one who is observing. This intersection creates a tension between the self-active student and the paths made possible for this self-activity. The pedagogical dimension of this tension can be expressed through the principles of the summons to self-activity and Bildsamkeit. By turning to some key-texts of the French philosopher Jacques Rancière, I explore how the notion of teaching as attention formation can be understood from within a radical relational perspective on education and also how attention itself can be thought of as an educational phenomenon. From this critical relational perspective, where the relation is seen as constitutive of educational situations and where the possibility for uniqueness, difference, and freedom are regarded as central characteristics for a democratic conception of education, I interpret Rancière’s notions of intellectual emancipation and partage du sensible as political/aesthetic analogues to the summons to self-activity and Bildsamkeit, respectively. While the event of intellectual emancipation, although constituted relationally, mainly addresses the unique attentive subject, the notion of le partage du sensible draws attention to the larger and shared context in which this event takes place. In the thesis, teaching as attention formation is addressed as a relational phenomenon in which the unique and irreplaceable subject is called into being and is given space to respond to the summons of the surrounding world and to strive against the materiality of that very same world. It is suggested that attention formation might be the educational event when someone, as a unique other, is called into presence and is given room to claim and to speak for his or her interest. It is an event made possible by those teachers who have the sensibility to discover its coming, the courage to let it happen, and the strength to accept the consequences of it. (shrink)

This paper focuses on the practical question of how the ideas of John Dewey can contribute to improved intercultural communication theory and practice, especially to training. The question is answered in four parts. The first part refers to the presumed superiority of sensitivity to difference as opposed to similarity in intercultural communication. The second part suggests that Dewey’s duality of potentiality and interaction can be carried over to the duality of competence and performance. The third part highlights the use of (...) the generic concepts of pattern and habit to better understand culture as a practical experience. The final part advocates a closer look at the idea and experience of rhythm as an epistemological alternative to subject vs object. The author relies on his experience as a trainer and a teacher of Intercultural Communication and proceeds down an interdisciplinary path, especially attempting to set up a dialogue with biology, systems and the arts. (shrink)

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)

Often defined as originality and innovation and desired for the economic profits it can produce for both individuals and their societies, creativity has been examined in order to find ways in which it can be promoted through various instructional practices in and beyond schools. Nonetheless, creativity as a fundamental basis of human existence and learning in a shared world is largely understudied. In this article, I examine the commonly held assumptions of creativity as it is incorporated into educational practices—that is, (...) the notion of creativity as developable and achievable, and often as measurable and evaluable. I explore some of the consequences of understanding creativity in this way and assert the need to reclaim the notion of creativity in order to recognize the ways in which creativity is a part of our everyday lived experiences, always including interactions with the bodily self, co-existing others, and the phenomenal world. Understanding creativity as an expressive mode and way of being in the world encourages a rethinking of creativity in education, positioning creativity as implicitly interwoven in the act of expression as it is undertaken in a community and advocating that this expression ought to be encouraged in both processes and products of learning. (shrink)

We argue for peace education as a process of improving the quality of everyday relationships. This is vital, as children bring their habits formed largely by social and political institutions such as the family, religion, law, cultural mores, to the classroom (Splitter, 1993; Furlong & Morrison, 2000) and vice versa. It is inevitable that the classroom habitat, as a microcosm of the community in which it is situated, will perpetuate the epistemic practices and injustices of that community, manifested in attitudes, (...) beliefs, behaviours and actions that can limit the child’s ability to learn. The educational task then, is to create opportunities for children to problematize the very environment they inhabit. To this end, our concern is for peace education aimed at addressing epistemic violence; a form of harm brought about by a particular rationality of domination. -/- The classroom community of inquiry, initially developed by Matthew Lipman and Ann Sharp as the methodology for the Philosophy for Children (P4C) approach to education (Lipman & Sharp, 1978; Lipman, Sharp & Oscanyan, 1980), is often viewed as a solution to inequality in the classroom—an intellectually safe environment which allows students to explore, practice and internalize good reasoning through philosophy so that they can make school relevant to their lives. Traditionally, the teacher’s role is to take a ‘neutral stance’ in discussion during the conduct of a community of inquiry. However, we argue that it is misplaced to assume that the community of inquiry is a safe intellectual environment in which the teacher as co-inquirer also facilitates the discussion procedurally, letting the argument lead, which Lipman took as the guiding principle for his process of inquiry. For, as Paulo Freire (1987) put it: -/- ... the dominant ideology makes its presence in the classroom partly felt by trying to convince the teacher that he or she must be neutral in order to respect the student. This kind of neutrality is a false respect for students. On the contrary, the more I say nothing about agreeing or not agreeing out of respect for the others, the more I am leaving the dominant ideology in peace! (p. 174). -/- Teachers must be aware of the possibility of epistemic violence to be able to detect and disrupt it, in order to facilitate a peaceful inquiry. We do not consider peace in the negative, as the absence of conflict, but in the positive as the capacity to respond skilfully to conflict as a way of life. Therefore, we concentrate on peace education that prepares students to turn conflict into inquiry, rather than peace education as values education or character education that instils values of ‘fraternity and non-violence’ (Gregory, 2004, p. 277). The community of inquiry provides such a framework, however, we argue that it must be facilitated in a way that mitigates the effects of epistemic violence by creating an educational habitat in which multiple ways of knowing can flourish. (shrink)

This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The. rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a (...) new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s. eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the. eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the. eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed. lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes. (shrink)

The traditional sciences have always had trouble with ambiguity. To overcome this barrier, ‘science’ has imposed “enabling constraints”—hidden assumptions which are given the status of ceteris paribus. Such assumptions allow ambiguity to be bracketed away at the expense of transparency. These enabling constraints take the form of uncritically examined presuppositions, which we refer to throughout the article as “uceps.” The meanings of the various uceps are shown via their applicability to the science of climate change. Second order science examines variations (...) in values assumed for these uceps and looks at the resulting impacts on related scientific claims. Second order science reveals hidden issues, problems and assumptions which all too often escape the attention of the practicing scientist. This article lays out initial foundations for second order science, its ontology, methodology, and implications. (shrink)

The purpose of this paper is to identify and defend a broad biologically informed internalist position. This internalism is pluralistic because it more explicitly identifies the range of ‘best light’ sporting practices than previous internalist literature. As such, it may help to solve a long-standing debate between broad internalists or interpretivists, as they are also called, and conventionalists. I present six models of sport that reflect different normative stances on testing and contesting acts. Each one is grounded in what I (...) claim to be an element of our more or less durable, but not metaphysically fixed, human nature. I conclude with a discussion of the strengths and weaknesses of my models, relationships among and between them, and implications for practice. (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 article is part of alarger project exploring the continuity betweentwo philosophical positions – that of Frenchpoststructuralist Gilles Deleuze (1925–1995)and John Dewey – that appear at first sight tobe separated by time, place and culture. Thescope of the present paper is necessarilylimited and focuses on one aspect of theproject, namely: the problematics ofsubjectivity, or subject formation, inDeleuze's philosophy. Deleuze's position isestablished as pragmatic by virtue of itssharing the value allotted by Dewey toexperiential and experimental inquiry inphilosophy. By drawing initial parallels (...) with anumber of selected Dewey's excerpts, this paperaims to open up a space for the imaginarydialogue between two philosophical thoughts soas to consider a possibility for applyingDeleuze's philosophy to educational theory andpractice in the context of current debates andin a manner continuous with the Deweyan legacy.The paper concludes by affirming Deleuze'splace in the contemporary scholarship on Dewey. (shrink)

The first work to offer a comprehensive pragmatist anthropology focusing on sensibility, habits, and human experience as contingently yet irreversibly enlanguaged.

To understand the evolution of imaginative culture, we need to understand its unique affective power. The purpose of this article is to explain our enjoyment of imaginative culture from the standpoint of a distinctive theoretical approach to understanding affect in terms of the dynamic and energetic features of consciousness. This approach builds upon John Dewey’s view of enjoyment as the enrichment of experience, adding perspectives from studies of the dynamics of consciousness and from ecological psychology. Its main thesis is that (...) positive affect is determined by the causal enrichment of experience, which is defined as the differentiated-ness of conscious states. This approach suggests that the affective power of imaginative culture lies in the way it affords experiences of enriched meaning, as exemplified by our enjoyment of highly nuanced emotion in music. (shrink)

The Spanish philosopher Gustavo Bueno coined the expression “substantive arts” to refer to those arts that do not serve any immediate, mundane or practical purpose. In this paper, I briefly present this idea and put forward a definition of the substantive arts as an alternative to those used until now. Starting from the assumption that since the end of the 18th century there has been a set of arts that have their own substantivity, I expound on certain criteria widely used (...) as distinctive features to define the substantive arts. I subsequently put forward an alternative intensional criterion to characterize the substantive arts. To end, I draw some corollaries following from the application of this criterion. (shrink)

This review of the Ukrainian translation of H. U. Gumbrecht’s best-known work brings out the strengths and weaknesses of the translation and the peculiar reception of Gumbrecht’s key ideas in Ukraine. It also critically assesses Gumbrecht’s own original and often contradictory points. I question the relevance of Gumrecht’s meaning / presence distinction for reconstructing the history of the philosophical tradition, as well as for analysing our complex relation to the world. I also demonstrate the weakness of his biased attempts to (...) paint his opponents as relativists. Besides, I contrast Gumbrecht’s meaning / presence dualism with John Dewey’s theory of experience. The latter conceives experience as a dialectical relation between “doing” and “undergoing”. This juxtaposition shows that Gumbrecht’s theory cannot give a satisfactory account of the mechanisms of everyday or aesthetic experience due to its lack of consistent “everyday” epistemology. Moreover, his vague concept of “presence” and its unequivocal appraisal conflict with his own concept of the chronotope of “broad” or “complex” present, as presented in the selected essays of The Time Is Out of Joint. Eventually, I conclude that Gumbrecht’s eclectic terminological apparatus, as well as uncritical and biased reconstruction of the tradition preclude any serious philosophical engagement. However, it does not undermine the significance of his particular insights and theoretical instruments for cultural analysis. (shrink)

ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...) or painful emotions such as tragedy, melodrama, and horror. (shrink)

Many edusemiotic writers have begun to closely align edusemitoics to biosemiotics; the basic logic being that, if the life process can be defined through the criterion of semiotic engagement, so can the learning process :373–387, 2006). Thus, the ecological concept of umwelt has come to be a central area of investigation for edusemiotics; allowing theorists to address learning and living concurrently, from the perspective of meaning and significance. To address the conceptual and experiential foundations of the edusemiotic perspective, this paper (...) will focus its attention on the basic semiosic processes that sustain the learner’s primary modelling system or umwelt—the world of meaning and sensory engagement that the organism is immersed in. This focus enables us to identify and explore four basic principles that an ecologically concerned edusemiotic perspective can be said to rest upon; the Iconicity Hypothesis, the Principle of Suprasubjective Relation, the Natural Learning Flow Principle, and the Continuity Principle. The identification and elaboration of these basic philosophical orientations will help establish the importance and relevance of the edusemiotic perspective for educational philosophy and theory in general. This task requires the methodological framework of Sebeok and Danesi’s Modelling Systems Theory, which; provides a biosemiotically grounded approach to understanding the diversity of modelling phenomena across all species, and; contextualizes the specific focus of this study within the broader forms of learning and knowing encompassed by a semiotic theory of learning. Hopefully such attention to the foundational doctrina of this new perspective will encourage more educational research to take what Semetsky has called the edusemiotic turn. (shrink)

Shusterman cites Dewey as a preeminent influence, but also endeavors to differentiate himself from his philosophical predecessor. Thus while both emphasize embodiment, Dewey stresses that the body is coupled to the world, and Shusterman sees it as more internally complete, almost setting this up as an ideal to be pursued. Consequently Dewey regards bodily action and resultant experience as co-determined by the world, whereas Shusterman believes the body and experience is more under the control of the individual. This article contrasts (...) Dewey and Shusterman’s approaches. It specifically ponders the Deweyan concepts of pervasive and unifying quality, and concludes that these ideas cast doubt on some of Shusterman’s views, specifically his emphasis on internal control. (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)

In this paper, I explore the problems of cultivating a critical attitude in pedagogy given problems with accounts grounded in critical social theory, rational liberalism and pragmatic esthetic theory. I offer instead an alternative account of criticism for education in open, pluralistic, liberal, democratic societies called 'pedagogy of difference' that is grounded in the diversity liberalism of Isaiah Berlin and the dialogical philosophy of Martin Buber. In our current condition in which there is no agreement as to the proper criteria (...) for assessing attitudes and actions, for a critical attitude to gain a foothold one must learn to evaluate proposed beliefs and behaviour-based standards within a particular tradition as well as those drawn from another viewpoint. To know oneself, one must engage others who are different. But to engage others in a meaningful way one must be immersed in a tradition to which one is heir or with which one chooses to affiliate. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies (or should qualify) 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)

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.

This paper explores a fundamental similarity between cognitive models for crying and conceptions of insight, enlightenment or, in the context of art, “aesthetic experience.” All of which center on a process of initial discrepancy, followed by schema change, and conclude in a personal adjustment or a “transformation” of one’s image of the self. Because tears are argued to mark one of the only physical indicators of this cognitive outcome, and because the process is particularly salient in examples with art, I (...) argue that crying may provide an intriguing marker for empirical study of perceiving art. To explore this parallel, I offer a review of crying theory as well as of tearful cases with art, pointing out the key cognitive elements. I then introduce an expanded crying model, based upon our recent model of art experience which does consider insight and adjustment or application of the self. I also consider multiple emotional and evaluative factors, which may co-vary with crying response. This theoretical discussion is then applied in three exploratory, survey-based studies, conducted within U.K., Japan and U.S. museums, and including what is claimed to be the 20th century’s most tear-inducing abstract paintings. Results showed—with cross-cultural consistency—significant correlation between “feeling like crying” and a collection of responses posited to indicate a full progression to aesthetic experience. This also found correlation to positive assessment of artwork goodness, beauty, understanding of meaning, and to final reported self reflection and epiphany. I argue that, beyond the question of why we may cry, by considering implications of what tears may indicate for information processing, feeling like crying may be a compelling basis for identifying outcomes of perceptual (art) experience. (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)

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)

Food can provide an unique insight into both the human conditions of embodiment and interactive experience, and aesthetic education of environmental awareness. My project is to present an opportunity for a far-reaching pragmatic vision by treating aesthetics as having to do with the elements that make up an environment. This provides a sufficiently extensive ground on which to argue for environmental eating as one of the most profound meanings we can experience. Environmental eating, then, means tasting a world - tasting (...) the fundamentals of what constitutes a place. (shrink)

This three-part publication series presents the epistemological processes and outcomes of an international arts-based research project titled Big Blue Ball : Pictures, people, place. The project uses the creative function to investigate the nature of meaning-making. In particular, through collaborative engagement with adversity of cultures, it explores the significance of creativity and creative practice in setting up sites for shared understanding in a contemporary and globally interactive world. The project was developed and carried out by Donna Wright during her PhD (...) Candidature at Southern Cross University, Lismore, Australia, between 2004 and 2007. Making use of practice-led research strategies, and drawing on creative arts practice, the project has exploited the inherent capacity of the creative function to support innovation. The project design offers a new model of intertextual processes of creativity that opens up spaces for intercultural negotiation, by linking spatial conceptions and processes for semiotic mediations, to multiple, interconnected mediums for the production and reception of new information. This in turn provides a context in which to support knowledge discovery that may facilitate intercultural awareness and understanding. (shrink)

Recently, feminists like Jane Roland-Martin, Elizabeth Young-Bruehl, and others have advocated a conversational metaphor for thinking and rationality, and our image of the rational person. Elizabeth Young-Bruehl refers to thinking as a “constant interconnecting of representations of experiences and an extension of how we hear ourselves and others. There are numerous disadvantages to thinking about thinking as a conversation.We think there are difficulties in accepting the current formulation of the conversational metaphor without question. First, there is danger that we will (...) lose important dialectical connections like that between the self and society. Second, the conversational metaphor alone cannot fully express the way conversations are constructed. We will want to take up the notion of narrative as a metaphor for thinking advocated by Susan Bordo, Alasdair MacIntyre, Jerome Bruner, and others, including Mary Belenky and her colleagues.Eventually, we want to champion narrative and the dramatic narrative of culture as a metaphor for thinking that involves such expressions as sights, insights, silences, as well as sounds, moments of mood and poetic moments. The dramatic narrative provides the structural possibilities needed to criticize certain kinds of conversations, in order to talk about the relations of public and private, self and society and most importantly, about the drama of our lives within and without.The dramatic narrative for thinking helps dispel the dangerous dualisms of mind and body that not even conversation or narration alone can banish, and allows us to frame questions about education that do not require us to separate mind from body. The dramatic narrative metaphor for thinking lets us show who we are, act out what we think, and reconstruct rationality to reflect what many women, and some men, do. (shrink)

What is it that we lack in everyday life that causes us to value art so highly? This article argues that (almost) all values are to be understood in terms of a needs-satisfaction system, and hence that the value of art can be understood only with reference to the state of the appreciator prior to engagement with the artwork. Aesthetic appreciation can be analysed as a process, which can be described in empirically based psychological terms, leading to a functional view (...) of aesthetic experience as potentially enhancing the individual's orientation at sensory, cognitive, and interpersonal levels; our motivation is a special form of pleasure. Various objections are then considered, with particular attention to the role of pleasure in connection with tragedy; the relation of art to related cultural pursuits is also briefly indicated. (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)

Carruthers considers and rejects a mixed position according to which we have interpretative access to unconscious thoughts, but introspective access to conscious ones. I argue that this is too hasty. Given a two-level view of the mind, we can, and should, accept the mixed position, and we can do so without positing additional introspective mechanisms beyond those Carruthers already recognizes.

Drugged bodies are commonly depicted as passive, suffering and abject, which makes it hard for them to be known in other ways. Wanting to get closer to these alternative bodies and their resourcefulness for living, I turned to body-mapping as an inventive method for telling different kinds of drug-using stories. Drawing on a research project with people who inject heroin and crack cocaine in London, UK, I employed body-mapping as a way of studying drugged bodies in their relation to others, (...) human and non-human, in the injecting event. I invited participants to draw their bodies in describing these otherwise hard-to-articulate experiences. Following Donna Haraway, I conceptualise body-mapping as a more-than-human mode of storytelling where different kinds of bodies can be known. Here, I look at three such bodies – sensing-bodies, temporal-bodies and environment-bodies – and argue that it is through being able to respond to such bodies that more hospitable ways of living with drugs can become possible. (shrink)