Elwyn Richardson’s work at Oruaiti School from 1949 to 1962 has been almost exclusively interpreted as a unique experiment in art and craft education, partially as a result of impact of his book, In The Early World. The book is viewed as evidence of innovative departmental policies that allowed teachers wide latitude for experimentation, access to ample high-quality art materials and professional support. This interpretation of his work is, however, limiting as it obscures the scientific basis of Richardson’s approach. The (...) art and craft work at Oruaiti arose directly out of a scientific foundation that was shaped more by Richardson’s interest in environmental study than by the dominant ideas about child art. (shrink)

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

My conversion into a knower has been a long and winding road. From childhood reverie to the years of formal schooling, education has never ceased to lure me into its magical power. How do we really get to know/see/learn whatever happens on our educational journey? In this paper, I will re-trace my quest for knowledge that reaches beyond the boundaries of traditional epistemology. My wonderings will take me to explore, via Jung, the possibilities of imaginative education through Gnosis and Sophia. (...) The paper intends to weave together several Jungian discourses with their versions by other thinkers who have contributed to the fields of depth psychology, esotericism, and educational philosophy. (shrink)

The traditional sciences often bracket away ambiguity through the imposition of “enabling constraints”—making a set of assumptions and then declaring ceteris paribus. These enabling constraints take the form of uncritically examined presuppositions or “uceps.” Second order science reveals hidden issues, problems and assumptions which all too often escape the attention of the practicing scientist. These hidden values—precisely because they are hidden and not made explicit—can get in the way of the public’s acceptance of a scientific claim. A conflict in understood (...) meaning—between the scientist’s restricted claims and the public’s broader understanding of those same claims can result in cognitive dissonance or the equivalent of the Mori Uncanny Valley. Scientists often react to these differences by claiming “incommensurability” between their restricted claim and the public’s understanding. Second order science, by explicating the effects of variations in values assumed for these uceps and associated impacts on related scientific claims, can often moot these assertions of incommensurability and thereby promote greater scientific understanding. This article explores how second order science can address issues of public doubt regarding the scientific enterprise using examples from medicine, diet and climate science. (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)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...) parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Carruthers presents an interesting analysis of confabulation and a clear attack on introspection. Yet his theory-based alternative is a mechanistic view of which neglects the fact that social understanding occurs within a network of social relationships. In particular, the role of language in his model is too simple.

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)

How does Richard Shusterman’s Thinking Through the Body apply to the issues of everyday aesthetics? As it turns out, many chapters contribute significantly to everyday aesthetics, in particular the work on architecture, self-styling, the body as background, lovemaking, and the process of making a photographic portrait. Shusterman’s concentration on the art of living has special importance to everyday aesthetics. Current debates within the field of everyday aesthetics also raise problems for somaesthetics. I also question the limits of somaesthetics and Shusterman’s (...) rejection of defamiliarization in making the ordinary extraordinary. (shrink)

This article examines the social development of Hong Kong's cultural and national identity since its return from the UK to the People's Republic of China nearly six years ago, focusing on the extent to which Hong Kong students are now inculcated in traditional Chinese music and express their devotion to the PRC through singing the national anthem. Hong Kong music teachers experience conflicts concerning their roles as music teachers and as purveyors of values education. These observations raise fundamental questions concerning (...) the sociopolitical function of values education in the music classroom. (shrink)

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

Mainstream psychology has assumed a notion of the self that seems to rest on a substantialist notion of the psyche that became predominant despite important critical theories about the self. Although cultural psychology has recognized the diverse, dialogical, historical, narrative and performative nature of self, as opposed to the idea of self as entity, it is not clear how it accounts for the phenomenological experience of self as a unified image. In this paper, we offer a theoretical contribution to developing (...) the implications of a genetic approach to self in cultural psychology, taking into account an otherwise overlooked dimension: art and aesthetics. We draw on the work of classical authors relevant to cultural psychology, who, although geopolitically and theoretically diverse, are concerted in understanding human psychological life as part of a living process of becoming: James, Mead, Dewey, Vygotsky, Bakhtin and Vološinov. Overall, the hypothesis developed throughout the paper is that self is produced within psychological individuation as an effect of the aesthetic activity involved in everyday discursive life. We deepen the ideas that self is not an entity but a process of open becoming, and that cultural life entails a radical experience of alterity; but we recognize the psychological importance of the sense of unity and closure generated in this process. We argue that self entails not only the process of becoming, but also an aesthetical effect of unity in becoming. Self as an aesthetic effect emphasizes the self as a discursive and technical process of production, involving a product that, despite not being a finished entity, is felt as unitary and as mine by virtue of a specific transformation of experience. We thus propose to define self, on one level, as an epistemological category that points to the paradoxes of identity and agency in psychological individuation; and, on a different level, as a twofold operation that makes possible the subjective experience of a constitutive effort as much as a transient but experienced identity or agency. (shrink)

This theoretical paper takes an agency-theoretic approach to questions of corporate social responsibility (CSR). A comparison of various extant frameworks focusses on how CSR agency emerges in complex multi-agent and multi-sector stakeholder networks. The discussion considers the respective capabilities and relevance of these frameworks – culminating in an integrative CSR practice model. A short literature review of the evolution of CSR since the 1950’s provides the backdrop for understanding multi-agent cross-sectoral stakeholder coalitions as a strategic determinant of today’s organizational behavior. (...) The paper turns to Werhane’s coupling of moral imagination and systems thinking and forging stakeholder coalitions in problem contexts that were traditionally deemed intractable by for-profit organizations. However, it identifies the problem that the systems approach treats macro-agents (organizations, stakeholders) as given (“black-boxed”) and shies away from more radically re-imagining the possibilities of reassembling agency from the bottom up. Actor Network Theory (ANT) provides such a method, which strictly commits to treating organizational behavior as a product of technological, human and environmental micro-processes. ANT, however, is lacking a genuine moral deliberative stance in designing complex CSR coalitions. In an attempt to capitalize on the respective strengths of these frameworks (Systems thinking and ANT) the paper tends to a recent iterative series of “situational transactive” models that are rooted in the US pragmatist tradition and seek to capture intelligent planning processes in complex problematic contexts. The contribution proposes a new CSR practice model, which assigns specific roles to the theoretical contributions of ANT, system thinking and pragmatism in complex deliberation processes. This model can be industry-tested in a future study. (shrink)

The article clarifies the way in which ‘the aesthetic’ is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: ‘positive’ ones, ‘negative’ accounts and ‘Postmodern’ renderings. Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop (...) enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic’s ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic’s ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. (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)

Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...) infused into our natural and artificial environment. Section three lists several ways of how we experience atmosphere, preparing the ground for the specifically aesthetic claim in section four: how, when we experience atmosphere aesthetically, we respond to it by resonating or feeling at home. (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)

Abstract: Every sentient organism needs constantly to re-assess its environment in order to adjust to any changes in it and to ascertain which aspects are, or become, salient for its current purposes. Such adaptation is of basic evolutionary importance, but for human beings it can be difficult to achieve in the face of radical novelty or when different frames of reference are in conflict. Art by virtue of its integrated structure presents examples of how a partial unification of experience may (...) be envisaged. Art thus helps to meet our constant need for orientation and re-orientation, though its operation in this respect is invariably outside consciousness. So art can be said to have intrinsic value only within a strictly subjective, phenomenological perspective; more broadly considered from a third-person viewpoint, the value of art is instrumental. Questions then arise concerning our motivation for seeking or producing art, about the relation of art to other cultural activities, and about the role of pleasure in connection with aesthetic experience; these are briefly discussed. (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)

Our aesthetic practices, by which we aim for better well-being, are intertwined with fostering sustainability. This article focuses on Yuriko Saito’s aesthetics of sustainability, an idea denoting a new kind of aesthetic sensibility informed by and featuring both environmental and cultural sustainability. Saito’s idea is based on our aesthetic relationship with everyday experiences. In this article, I defend the idea, on the one hand, by considering the immanence of change as a sense of contemporary everydayness and, on the other hand, (...) by regarding mindfulness as a practice. Situating the discussion in the European context emphasises the aesthetics of sustainability as a sustainability transformation, that is, an ongoing societal change powered by the continuous cultivation of aesthetic sensibility. (shrink)

Abstract: Pragmatism involves simultaneous commitments to modes of inquiry that are philosophical and historical. This article begins by demonstrating this point as it is evidenced in the historicist pragmatisms of William James and John Dewey. Having shown that pragmatism focuses philosophical attention on concrete historical processes, the article turns to a discussion of the specific historiographical commitments consistent with this focus. This focus here is on a pragmatist version of historical inquiry in terms of the central historiographical categories of the (...) object of historical inquiry and mode of historical periodization. After describing the basic historiographical consequences of pragmatism's historicism, the article moves to a discussion of the philosophical results of this historicism. The focus here is on the role that historical inquiry can play in the general philosophical perspective of pragmatism as well as on some recent texts that exemplify the dual pragmatist commitment to philosophy and history. (shrink)

This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the image becomes either “icon” or false appearance. The image in this tradition is a powerful agent and gains as such performative power. From the Bible to Kant and German idealism to Adorno and Deleuze, the prohibition of the image signals its power (...) and turns it into a strong magnet in political aesthetics, may it be affirmative or negative. (shrink)

Among the avant-garde organizations in Europe during the middle of the twentieth century, a few of them combined in 1957 to form the Situationist International (SI). This article locates relevant aspects of their theory in the increasingly visible constellation of Critical Geography and educational scholarship, both in the foundations of education and curriculum theory. After a brief introduction to the SI, a situated pedaogy is presented in past and present educational literature and is complemented with various theoretical constructs of the (...) SI. These considerations are presented to address and, perhaps, remedy a pedagogy of placelessness that appears to be prevalent in public schools today. A situated pedagogy connects the curriculum to the everyday lives of students and is interested in identity and self-formation, but also social-formation and the relationships between the two, and asks students to pay attention to their environment, and listening to what places have to tell us. It also asks students to read the world and to decode it politically, socially, historically, and aesthetically. A situated pedagogy attends to place, not only as the focus of student inquiry or academic study, but as the spaces for performative action, intervention, and perhaps transformation. As such, education moves beyond schools to their communities as students participate in remapping their material and curricular landscapes. (shrink)

Many recent writers on democracy have lamented its decay and warned of its imminent death. We argue that the concerns are focused at three different levels of democracy. The most fundamental of these, celebrated by Tocqueville and by Dewey, recognizes the interactions and joint deliberations among citizens who seek sympathetic mutual engagement. Such engagement is increasingly rare in large-scale political life. In diagnosing and treating the problems, we recommend returning to the debate between Lippmann and Dewey, in which many of (...) the concerns now prominent were already voiced. This inspires the main work of the paper – the reconstruction of Dewey’s conception of democracy as a ‘mode of associated living’. We focus on the thesis that democracy is educative and explicate Dewey’s notion of growth, showing how democratic education contributes to three important functions: the capacity for sustaining oneself, the enrichment of individual experience, and the ability to enter into cooperative discussions with fellow citizens. Dewey’s conception of democratic education is directed at fostering particular virtues and, if citizens come to possess them, the need for Lippmann’s ‘omnicompetent individual’ vanishes. We conclude by suggesting that Dewey’s project of educating democratic character is pertinent for addressing the disaffection of our times. (shrink)

In addition to active wake, emotions are generated and experienced in a variety of functionally different states such as those of sleep, during which external stimulation and cognitive control are lacking. The neural basis of emotions can be specified by regarding the multitude of emotion-related brain states, as well as the distinct neuro- and psychodynamic stages (generation and regulation) of emotional experience.

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)

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)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

The article concerns civic experiences beyond or prior to civic action. Approaching questions of civic culture and democracy by way of the rather broad notion of civic experience, the author suggests that democratic values and processes involving citizens’ participation should be understood as deeply anchored in the lifeworld. The article establishes a view in which civic culture is understood from a holistic perspective as an experience. At the same time, the author is interested in the ways in which media are (...) involved in that process, without assuming their predominance in fostering civic engagement and public connection. Drawing mainly on 20 solicited, open-ended online diaries with young adults from Narva, Tartu, and Tallinn in Estonia and the European Social Survey Round 5, the article proposes civic experience as a helpful notion to overcome the generic divide between utopian and dystopian views on the relationship between media and civic culture. (shrink)

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

This paper is a conceptual essay rooted in two basic observations. First, felt dignity—the subjective sense people have of their own autonomy and self-worth—ultimately emerges from, and is thus most evident in the connective space between people. Second, stories are everyday works of art that afford unique insight into the subtle complexities of the socio-emotional realities of work. Building on these observations, we describe how personal stories about episodes of interpersonal connections and disconnections at work—moments in which we feel mutual (...) appreciation and empowerment or a sense of separation and distancing from another—can help us better understand the felt experience of dignity at work. In attending to such personal stories as art, we become more attuned to their felt, aesthetic qualities, which then helps us develop a more holistic and visceral appreciation of how actors experience, make sense of, and claim felt dignity. In support of our ideas, we present a few illustrative story excerpts and briefly consider how a select few aesthetic qualities—the way the stories’ elements are configured, the stories’ acuity or sharpness, and their rawness—enhance the felt impact of the stories and help to remind us of their and the storytellers’ intrinsic value. (shrink)

This article examines the imagination by way of various studies in cognitive science. It opens by examining the neural correlates of bodily metaphors. It assumes a basic knowledge of metaphor studies, or the primary finding that has emerged from this field: that large swathes of human conceptualization are structured by bodily relations. I examine the neural correlates of metaphor, concentrating on the relation between the sensory motor cortices and linguistic conceptualization. This discussion, however, leaves many questions unanswered. If it is (...) the case that the sensory motor cortices are appropriated in language acquisition, how does this process occur at the neural level? What neural preconditions exist such that this appropriation is possible? It is with these questions in mind that I will turn my attention to studies of neural plasticity, degeneracy and the mirror neuron activation. Whereas some scholarship in philosophy and cognitive neuroscience has aimed to identify the neurological correlates of consciousness, examining plasticity, degeneracy and activation shifts the discussion away from a study of correlates toward an exploration of the neurological dynamics of thought. This shift seems appropriate if we are to examine the processes of the “imagination.”. (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)

This paper examines an issue of recent Kant scholarship on education: the supposed disconnect between his theory of morals and his theory of character. While the debate is often couched in terms of Kant’s ‘phenomenal–noumenal’ distinction, or the distinction between moral theory and culture, I follow scholarship suggesting the best way to understand Kant’s distinction is by following his account of the ‘conduct of thought.’ Doing so demonstrates the Lectures on Logic and particularly, his account of prejudice, as playing a (...) large role in the articulation of what it is to think subjectively. We also see the importance of conducting our thinking from the subjective standpoint to an objective (moral) one in order to fulfill our obligations to both think and act morally. (shrink)

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

The evolution of society, the transcendence of existing social structures, and how society creates itself rests in a function of education. In this article the author examines education's work as that of social creativity. The need for pedagogies of "educate hope" and "imaginative possibilities" is explored. Social epistemology and social imaginary are discussed as dimensions of social creativity within the postmodern society. The aesthetic imperative in education is argued as important to developing the capacities and capabilities in youth to imagine (...) alternative future possibilities of democratic society. The author concludes by examining the role of education in the evolution of society. (shrink)

I argue that John Dewey’s analysis of imagination enables an account of learning from imaginary cases consistent with Jonathan Dancy’s moral particularism. Moreover, this account provides a more robust account of learning from cases than Dancy’s own. Particularism is the position that there are no, or at most few, true moral principles, and that competent reasoning and judgment do not require them. On a particularist framework, one cannot infer from an imaginary case that because a feature has a particular moral (...) importance there, that it must have that import in an actual case. Instead, for Dancy, cases can yield “reminders,” and a person with a lot of experience (real or imagined) brings a “checklist” of features that can matter to a situation. Using the Nathan-David exchange from 2 Samuel and Martha Nussbaum’s “Steerforth’s Arm” from Love’s Knowledge, I show that this account does not explain all instances of learning from cases. Drawing on recent work on cases, I argue that cases can be educative by serving an exploratory function, probing what one takes to be known and provoking change in the background one uses in evaluating a situation. I then argue that Dewey’s work on imagination in his comments on sympathy and in A Common Faith and Art as Experience enables such a role for cases on a particularist framework. Mark Johnson’s recent work on metaphor further illuminates how Dewey’s account of art can be exploratory. I contend that this account affords an exploratory role for cases consistent with Dancy’s particularism. (shrink)

This study seeks to examine Umberto Eco's views of the key ideas in John Dewey's Art as Experience. Eco's proferred suggestion of transactional psychology as a corrective to Dewey's views is criticized as a misreading of Dewey's position.

In The Biosemiotic Fundamentals of Aesthetics: Beauty is the Perfect Semiotic Fitting Kull makes a foray into the concept of Beauty. His target article is a welcome contribution not only for providing a biosemiotic notion of beauty but also as a trigger for further enquiry into the matter. Additionally, Kull delivers a new concept: Semiotic Fitting, shining new light on the Umwelt theory. My commentary embraces the challenge Kull presents. Offering an alternate view on beauty, as a matter, and product, (...) of cognition, I suggest reflecting on the philosophy of Alexander von Baumgarten, who coined the term “aesthetics”, offers rich insight that could extend and enrich the definition of beauty Kull presents. (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)

From the standpoint of an intercultural communication trainer in an exploration mode, the author starts by analyzing and evaluating two Third Culture models in order to sort out their contributions to practically improving intercultural communicative performance with the stranger. In his exploration he strives to move from competence to performance by shifting the focus of the abstract potential of competence to the body as an experiencing organism and its environment, the point in a situation where performance takes place. Along his (...) path he also discovers interfaces with related discussions. All of these interfaces together the author found are internally commensurable with each other. (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 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)