The paper proposes that taking the notion of “community of inquiry” as a regulative ideal is a valuable working tool for the refinement and improvement of the practice of Philosophy for Children (P4C). Reed (1996) and Sprod (1997) have already drawn attention to this, stating that the community of inquiry is more a regulative idea than a typical occurrence. Building on these claims, we will show that taking the notion of community of inquiry as such gives new light to many (...) of the items and aspects of the description of what constitutes a community of inquiry. Consequently, it provides ways to identify important moments in the philosophical practice that consolidate the community of inquiry, and a working tool to grasp and handle some of the crucial moves that the facilitator, as well as other participants, do to install and strengthen the community in the sessions. (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)

Most psychology begins with a distinction between organism and environment, where the two are implicitly (and sometimes explicitly) conceptualized as flipsides of a skin-severed space. This paper examines that conceptualization. Dewey and Bentley's (1949) account of firm naming is used to show that psychologists have, in general, (1) employed the skin as a morphological criterion for distinguishing organisms from backgrounds, and (2) equated background with environment. This two-step procedure, which in this article is named the morphological conception of organism, is (...) shown to inform the writings of the well-known psychologist B. F. Skinner. A review of difficulties with the morphological conception is followed with a review and preliminary integration of four attempts at an alternative conception of organism, and thus environment. Together, these four attempts converge on an analysis of living systems as transdermal (through and across skin) processes only within which organism and environment are distinguishable as complementary phases. The notion of a biological total process, or bioprocess, is employed to clarify this alternative analysis, in which an organism is an ongoing organization rather than a skin-bound body. (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)

"[O]ther contributors argue that taste has a clear epistemic function. Brower cites Agamben as claiming that taste is a priveleged locus for knowledge...A phenomenology of taste, then, is no mere trivial or personal matter, but one with wide-ranging consequences. And some of these conseqences are ethical...[D]oes the debasement of taste indeed breed xenophobic oppression, as Brower is sure that it does? [sic:)] These are contentious claims. Surely a person of exemplary aesthetics and gustatory taste can still be a moral monster...aesthetic (...) delicacy does not entail ethical virtue. It has been a long time since beauty was associated with moral good, yet the connection persists...It has been a long time since beauty was associated with truth, as well, and yet, again, the conection endures..." (Eds' Preface, ix-x). (shrink)

I examine the role that the musical instrument plays in shaping a performer's expressive activity and emotional state. I argue that the historical development of the musical instrument has fluctuated between two key values: that of sharing with other musicians, and that of creatively exploring new possibilities. I introduce 'the mood organ'- a sensor-based computer instrument that automatically turns signals of the wearer's emotional state into expressive music.

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.

The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...) “unfortunate” consequence, those artists who wished to become famous were not able to avoid certain art institutions, such as museums, galleries, curators or critics. Until now. The internet, especially Facebook, provide genuinely new options/ opportunities for the virtual display of art pieces, an option that artists are eager to take advantage of. In the following, I will present the process of expansion of the public artistic sphere, I will attempt to show why Facebook serves well as a public artistic arena, and finally, I will present some salient Facebook-art-projects. The presented projects will include works by a street artist (Banksy), a performance artist (Gusztáv Ütő) and a graphic designer (Dan Perjovsky). These three artists are intrigued by current social issues, which are usually reflected in their works, also they all wish to spread their messages to the widest possible public. On of their favorite channels is the Facebook Wall. (shrink)

We introduce Neuroartes as a biological humanism that concentrates on the development of social interventions. We review several connections between art and the human body, mainly the brain. We suggest art, painting in the present case, as a tool to work with the elderly with cognitive and/or motor impairment for the purpose of helping them with their subjectivity and autonomy.

This dissertation is an attempt to analyze an indigenous concept of early Chinese Philosophy in its own context, interpreting it outside of a contemporary Western philosophical framework , then to comb the history of Western philosophy for related concepts, in order to finally enrich the contemporary philosophical landscape by incorporating this concept through a useful and familiar set of conceptual tools. ;The concept in question is ziran, rendered spontaneity, a central notion of early Chinese philosophy but one that has not (...) been philosophically elaborated to an adequate degree in sinological literature. Preliminary to addressing spontaneity, one must first address the outstanding metaphysical issue of intersubjective interaction in early Chinese philosophy, and such an investigation must center on the difficult notion of qing, rendered affectivity in a general sense meant to encompass not only emotion but all cognition. On the sensitivity-and-response model of Chinese interpenetrative interaction, affectivity is found to be a central component of such interaction. ;Having laid the groundwork for an analysis of spontaneity, I examine the skill episodes of the early Chinese Daoist work Zhuangzi, abstracting out four defining features of spontaneous action. After elaborating on these features in context and in relation to each other, I turn to the Western philosophical tradition to see if any aspects of spontaneity or its underlying metaphysics can be discovered there. Although metaphysical differences are constantly an obstacle, I find significant parallels to spontaneity in such figures as Plato, Aristotle, Rousseau, Schiller, James, and Dewey. Through extended examination of this wide variety of philosophical theories, a more nuanced and enriched understanding of spontaneity results. ;Finally, I bring spontaneity to bear on aesthetic and moral action. Here I make a number of original contributions regarding how to conceptualize spontaneous action with regard to formality and syntax of actions in activities, regarding a division of the arts into somatic and non-somatic, regarding the relationship of spontaneity to improvisation, and regarding the possibility and challenge of cultivating spontaneity in art and in moral action. ;Similar philosophical gains are prompted through the dissertation, such as the logical impossibility of judgment, the possibility and desirability of unnatural action, the distinction of numismatic terminology, and the usefulness of the inchoate. (shrink)

The evolving genre of arts-based research constitutes a range of arts-derived tools used by qualitative researchers at different phases of the research process, which may encompass data collection, analysis, and dissemination. Its primary purpose is to provide an audience with evocative access to multiple meanings, interpretations, and voices associated with lived diversity and complexity. Arts-based research is thus a genre that strives for new ways of seeing, knowing, and feeling. In reflecting temporally on the evocative power of arts-based research, the (...) notion of vintage wine in new bottles is evoked to recover, situate, and critically reflect on the extraordinary interdisciplinary arts-based autobiographic work of Charlotte Salomon. Salomon, who died in Auschwitz in 1943, produced before her execution a remarkable and outstanding single body of work consisting of a series of over 769 gouache paintings titled, “Life? or Theater? A Play with Music”. The work integrates image, text and music, as she confronts the viewer with a visual narrative of her short life, speaking evocatively through time on multiple levels to a wide public audience. The aim of this paper is to herald and sociologically reflect on this work and its methodological and epistemological significance as a profound and early piece of arts-based research. (shrink)

In this study, we examine the philosophical bases of one of the leading clinical psychological methods of therapy for anxiety, anger, and depression, Cognitive Behavioral Therapy (CBT). We trace this method back to its philosophical roots in the Stoic, Buddhist, Taoist, and Existentialist philosophical traditions. We start by discussing the tenets of CBT, and then we expand on the philosophical traditions that ground this approach. Given that CBT has had a clinically measured positive effect on the psychological well-being of individuals, (...) it becomes important to study the philosophical foundations on which this therapy is based. (shrink)

It is with the materiality of language, or Materia Prima, that this article concerns itself, reflecting upon the ‘surface’ of text, as an image in its own right. The oral or spoken/auditory/acoustic qualities of language have long been held to be aesthetically central to literature and poetry, not material words. The philosopher Richard Shusterman describes this phenomenon as a lack of attention to those instances when the ‘visible is visible’, this phrase relying upon a distinction between two meanings of the (...) word ‘visible’. The first suggests being ‘able to be seen’, while the second suggests the ‘conspicuous’ or ‘strikingly manifest’ aspect of the seen. The printed surface of language, where the ‘visible is visible’, has traditionally been viewed as irrelevant in philosophical accounts of language, from Plato to Wittgenstein, where, frequently, language is broken down only into ‘the sound aspect’ and ‘the meaning aspect’. However, this article will argue that the knowledge that artists, designers, typographers and illustrators bring is that the material word is a crucial partner in the production of meaning. This article engages with those practitioners whose work interfaces with these concerns, both directly and indirectly. Article examining the potential of material explorations of language in the form of typographic/artistic practice, as a method of philosophical reflection about language. This involves a synthesis of methodologies drawn from both theory and practice. This research is concerned with articulating a new theory about the materiality of language. This new methodology involves exploring/making examples of self-reflexive ‘visible’ language, which in turn offer insight into philosophies of language from an aesthetic/experiential perspective: constituting an immanent critique of language, rather than a descriptive one. The argument made is that philosophical theories about language cannot be separated from their enactment at the level of the sensory attributes and experience of language. To this end, alongside historical examples, the article contains images of textual experiments, made by the author, which are intended to complement and extend philosophical discourses by using accompanying those theoretical analyses, with ‘enacted’ examples. (shrink)

This paper is an extension of the arguments and examples offered in ‘Materia Prima, Text-as Image’, where the materiality of language was foregrounded, rather than its transparent role in communication. The claims of neutrality to content in The Crystal Goblet, made by Beatrice Warde, alongside ideas from various traditional philosophical sources were contrasted with the work of concrete poets, artist, and designers, whose free-play with materiality in language upsets those relatively uncomplicated notions of transparency to content. The current paper proposes (...) that in the next stage, we might think of the materiality of language as a kind of ‘event’, in which the raw materials of language, are fully mobilized and enacted. This performative stage, which harnesses the dynamic attributes of language, is grounded by reference to Deleuze’s theory of the event, as well as Adorno and Benjamin’s notion of ‘constellation’. Katherine Hayles, Villém Flusser and others, are used to support the contention that we might think materiality and performativity/gesture, in language as a form of content. Lyotard’s Discourse/Figure is invoked as away to describe a different space of interaction between the textual and the figural, where the distinction between them is erased. Examples from art/design/typography are offered to support these points. (shrink)

The “Philosophy for Children” program has different goals, one of them being to foster creative thinking among students. The educational approach of the program is designed to transform the classroom into an innovative and philosophical environment that encourages students to develop creative thinking. At the beginning of this article, I discuss a concept of art as a creative activity that requires strong active involvement by the person who creates the work of art as well as the person who perceives, observes (...) or enjoys that work. Moreover, we also consider art not to be an activity exclusive of those we call artists, but rather we contend that all of us have the capacity to make works of art. In this light, one of the most important goals of our educational practice is to transform the class itself into a work of art in which all participants bring to bear the best of themselves, thereby making a valuable educational experience that demands from them and from the teacher the practice of complex and high-level thinking: a critical, creative, and caring way of thinking. (shrink)

Authoress considers aesthetic thinking of George Santayana to be closely interconnected and knotted with his philosophical attitudes and at the same time with his art production. The authoress suggests that his production, in spite of diversity of his ideas, can be characterized by continuity. She proves by evidence that Santayana’s thinking has not changed during his production despite the fact that he has used different approaches or terminology or style, medium... She points at the development of his thinking, shifts of (...) opinions and ideas, which he has had on beauty, art, and life. She points out that his own ontological philosophical system has been developed gradually from his youthful aesthetic ideas. The authoress considers Santayana’s aesthetic thinking, especially his concept of “aesthetic experience” to be inspiring source for contemporary aesthetic and philosophical theories. (shrink)

Arnold Berleant shares much in common with John Dewey. His notion of aesthetic engagement, which is central to his philosophy of art, is, like Dewey’s concept of “an experience,” an attack on dualistic notions of aesthetic experience. To the extent that Berleant and I are both Deweyans, we agree that we need to turn from the art object to art experience. Art is what it does in experience. Yet appreciative experience of art cannot happen without, at some point, focusing on (...) the art object as such, and this means bracketing context. Engagement is important, but so too are contemplation, disinterestedness and distance. Contemplation, for example, is a moment both in the creative process and in the process of appreciation. Moreover, following Brand and Gracyk, it will be argued in the present paper that only through toggling between contemplation and engagement can we obtain a full experience of art, nature, or of the everyday. (shrink)