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

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)

If sensations were behaviorally conceived, as they should be, as complex functional patterns of interaction between overt behavior and the environment, there would be no point in searching for them as instantaneous psychic elements within the brain or as internal products of the brain.

Gray's comparator model fails to provide an adequate explanation of consciousness for two reasons. First, it is based on a narrow definition of consciousness that excludes basic phenomenology and active functions of consciousness. Second, match/mismatch decisions can be made without producing an experience of consciousness. The model thus violates the sufficiency criterion.

In Gray's conjecture, mismatches in the subicular comparator and matches have equal prominence in consciousness. In rival cognitive views novelty and difficulty especially elicit more conscious modes of cognition and higher levels of self-regulation. The mismatch between Gray's conjecture and these views is discussed.

Because consciousness has an organizational, or functional, center, Gray supposes that there must be a corresponding physical center in the brain. He proposes further that since this center generates consciousness, ablating it would eliminate consciousness, while leaving behavior intact. But the center of consciousness is simply the product of the functional linkages among sensory input, memory, inner speech, and so on, and behavior.

Perspective and reflection have each been considered in some way basic to phenomenal consciousness. Each has possible evolutionary value, though neither seems sufficient for consciousness. Consider an account of consciousness in terms of the combination of perspective and reflection, its relationship to the problem of other minds, and its capacity to inherit evolutionary explanation from its components.

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)

The first claim in the target article was that there is as yet no transparent, causal account of the relations between consciousness and brain-and-behaviour. That claim remains firm. The second claim was that the contents of consciousness consist, psychologically, of the outputs of a comparator system; the third consisted of a description of the brain mechanisms proposed to instantiate the comparator. In order to defend these claims against criticism, it has been necessary to clarify the distinction between consciousness-as-such and the (...) contents of consciousness, to widen the description of the neural machinery instantiating the comparator system, and to clarify the relationship between the contents of consciousness in the here-and-now and episodic memory. (shrink)

This symposium provides five case studies of the ways that John Dewey's philosophy and practice were influenced by women or "weirdoes" (our choices include F. M. Alexander, Albert Barnes, Helen Bradford Thompson, Elsie Ripley Clapp, and Jane Addams) and presents some conclusions about the value of dialoging across difference for philosophers and other scholars.

In lieu of an abstract, here is a brief excerpt of the content:The Rebirth of Cool:Toward a Science SublimeE. David Wong (bio)We love and hate "the cool." As educators, few things are more coveted than being recognized as teaching the "coolest" class in the school. We look forward to the rare moment when students gasp in awe or scream in amazement. However, in the quiet that returns after the last student rushes out the classroom door, we may feel an uneasy (...) ambivalence. Perhaps we admonish ourselves that serious science is substantial, enduring, and intellectual. We wonder whether our "cool" class was merely superficial, fleeting, and mindless.In this article I examine the cool—this idea we love and hate—and assert its importance in science education. I acknowledge that some experiences can be engaging but are superficial and unimportant—this is the "merely cool." By contrast, some experiences are deeply moving because we feel a growing capacity to perceive meaning and value in the world—this is the "sublimely cool." I draw from philosophy, literature, psychology, and aesthetics to build connections between cool and sublime experiences. By highlighting the surprisingly substantial connection between the cool and sublime, I hope to bring greater depth to the meaning of "cool," this imprecise, but honest, term. I also take care to define sublimely cool experiences in science as having a direct relationship with subject-matter understanding. It is true that the full meaning of aesthetic experiences extends beyond the grasp of words and conceptualization; however, it is equally true that knowledge and reason are central to all worthwhile experiences. The expansion of meaning and perception, not just intense sensation or emotion, is the heart of the sublimely cool experience. Nobel laureate physicist Richard Feynman provides a personal example of how his knowledge of science enhances his sublimely cool experience of Nature: "Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is 'mere.' I too can see the stars on a desert night, and feel them. But do I see less or more? The [End Page 67] vastness of the heavens stretches my imagination—stuck on this carousel my little eye can catch one-million-year-old light."1Cool as a Sign of Compelling Experience"Cool" is an intriguing expression for it is at once both crude and incisive. On the one hand, "cool" is a colloquial term used by people of all ages and backgrounds in many contexts to describe many things. So wide and informal is its use that "cool" may seem trite and banal. "Cool" is rarely chosen carefully when used: indeed, it is more often an unintentional, reflexive utterance.Thus, the more one thinks before speaking, the less likely "cool" will be used. Nonetheless, because it is an impulsive expression, "cool" may be all the more honest. Dewey made a similar point in his observation of the word "beauty": "Beauty... is properly an emotional term, though one denoting a characteristic emotion. In the presence of a landscape, a poem or a picture that lays hold of us with immediate poignancy, we are moved to murmur or to exclaim 'How beautiful.' The ejaculation is a just tribute to the capacity of the object to arouse admiration that approaches worship."2 With "just tribute" Dewey emphasizes the honesty of the term. By "admiration that approaches worship," Dewey reminds us that the spontaneous uttering of "beautiful" is a sign that a powerful experience has been had. I will make a similar argument that the term "cool"—although common and ordinary—can signal the having of a compelling experience. As a compelling experience, the cool becomes an important resource for teachers.Dewey goes on to describe how the meaning of "beauty" has, unfortunately, lost its value to aesthetic theoreticians: "Beauty is at the furthest remove from an analytic term, and hence from a conception that can figure in theory as a means of explanation or classification. Unfortunately, it has been hardened into a peculiar object; emotional rapture has been subjected to what philosophy calls hypostatization, and the concept of beauty as an essence of intuition has resulted. For purposes of theory, it then becomes an obstructive term."3Because of the way they are... (shrink)

Drawing on previous models of anxiety, intermediate memory, the positive symptoms of schizophrenia, and goal-directed behaviour, a neuropsychological hypothesis is proposed for the generation of the contents of consciousness. It is suggested that these correspond to the outputs of a comparator that, on a moment-by-moment basis, compares the current state of the organism's perceptual world with a predicted state. An outline is given of the information-processing functions of the comparator system and of the neural systems which mediate them. The hypothesis (...) appears to be able to account for a number of key features of the contents of consciousness. However, it is argued that neitherthis nor any existing comparable hypothesis is yet able to explain why the brain should generate conscious experience of any kind at all. (shrink)

Many modern discussions on Vocational education and Training (VET) only consider it’s goals in terms of the labor market or social inclusion. This article argues that vocations are an important contribution to the common good of society as whole, and not only a method of securing laborers. In order to acknowledge this contribution there needs to be a reorientation on VET from an educational perspective first and foremost. In order to do this, this article revisits a public debate John Dewey (...) had with two early educational reformers David Snedden and Charles Prosser in the early twentieth century. In this debate, the economic arguments used by Snedden and Prosser, which have found their echoes in the modern VET debates were opposed to the educational arguments of Dewey. This article wishes to show the significant educational nature of Dewey’s counter arguments and argue for the relevance of this approach in the modern VET discussion. (shrink)

Generative art theory involves any artistic practice where an artist uses external systems (rules, algorithms, organic processes) to complete an artwork. Commonly utilized in video game design, gen...

The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent (...) approaches to aesthetic value—in particular Dominic McIver Lopes’s ‘Network Theory’ have more of a struggle. (shrink)

The purpose of this article is to enlist the work of the American philosopher and psychologist William James in order to investigate the deeper significance of humor. It is neither James’s character nor anything he states directly about humor or laughter that is under discussion here, but the cosmos as grasped through his bold metaphysics and rich phenomenological observations. The thought of James, it is argued, discloses our inherence within a universe rife with ambiguity, complexity, and incongruity. I explore how (...) these features of reality, particularly when illuminated through James’s lush prose, may cause us to laugh. In addition, the insights of James are employed to examine the close relationship between humor and certain forms of religious experience, as well as with horror. (shrink)

The point of education is to support students to be able to live meaningful, autonomous lives, filled with rich experiences. The arts and aesthetic education are vital to such flourishing lives in that they afford bold, beautiful, moving experiences of awe, wonder and the sublime that are connected to the central human functional capability Nussbaum labels senses, imagination and thought. Everyone ought to have the opportunity to learn about art, to appreciate and create art, to critique art and to understand (...) how we are connected to the culture of our society. A life without art is unimaginable, and to the extent that people lack aesthetic experiences, their lives are impoverished, not ‘fully human’. Given that the distinctive value of art objects is that they afford aesthetic experience, it is upon this foundation that an argument ought to be mounted as to why schooling needs the arts, specialised teachers, and all students deserve aesthetic education. Therefore, in this paper, I offer a defence of compulsory aesthetic education across the curriculum on the basis of the aesthetic experiences the arts afford, and the central role such experiences play in eudaimonia—the flourishing life. (shrink)

With reference to a standard work on embodied cognition – The Embodied Mind: Cognitive Science and Human Experience by Francisco Varela, Evan Thompson und Eleanor Rosch – in this article I theorize art reception that connects reflexive processes with concrete perceptual experiences as embodied art reflection. Analogously to Varela et al’s citation of meditation practice as a transformation of immediate experience into an open, embodied reflection, one can also understand focussed awareness of experience in reflected, perceptually-oriented reception of art as (...) an open, embodied mode of access. The particular educational potential of art as a medium and object of knowledge and cognition lies moreover above all in its physical power of making-present, which exercises its particular effect in the concrete experience of the artwork. Against the background of a phenomenological perspective on learning, it is especially disruptive moments which are able to form perception and thought anew. For a pedagogical context above all, the schooling of perception and attention practised in art has particular relevance in relation to lived experience, opening new horizons. To show the potential of embodied art reflection through an example from the field of object art, my theoretical discussion opens out into a specific consideration of an artwork. (shrink)

Izhajajoč iz hermenevtične fenomenologije Martina Heideggerja, ki pretresa ontološki status umetniških del in se osredotoča na njihov značaj »stvari«, da bi destruirala tradicionalni pomen umetnosti, trdim, da za estetiko vsakdanjosti lahko rečemo, da pripada postheidegerjevski nalogi ponovnega premisleka umetnosti in temeljev estetike. Privzemanje hermenevtičnega pristopa k umetnosti ima za estetiko dvojno posledico: na eni strani širi njen doseg, s tem ko jo razširi onstran območja lepe/visoke umetnosti k vsakdanjim predmetom in izkustvom, in, na drugi strani, meče novo luč na pomen (...) umetniških pojavov za življenje. Menim, da se in navezujeta na dejstvo, da je sama hermenevtika, razumljena kot proces interpretacije, temelj vseh človeških dejavnosti, kar pomeni, da človeška bitja eksistirajo toliko, kolikor pomen svojih življenj izvajajo iz predmetov in izkustev, s katerimi se srečujejo. (shrink)

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)

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)

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas about music, (...) which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)

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

John Dewey has been portrayed as a sort of villain in Rosenow’s (1997) article which appeared in this journal, apparently because he was unfairly opposed to God and to religion, and also because he deliberately usurped religious language to ‘camouflage’ his secular ideas. By drawing mainly upon similar sources but with some important additions, I wish to challenge the four major concerns raised in Rosenow’s article and in doing so aim to offer an alternative interpretation. It is understood here that (...) Dewey’s approach to religion was not so much religious as it was ‘spiritual’ and while developing and changing throughout his writings, his ideas on spirituality nevertheless were thoroughly entwined with his other views, especially those dealing with education, science and democracy. (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)

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 aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as foundational for well-functioning democracies. (...) The Deweyan account of public art developed in this article is set against theories that explain its social value by public artworks’ ability to disrupt people's everyday routines and beliefs, as well as by the political alertness they often raise. Diana Boros's recent treatment of what she calls “visionary public art” serves as the main specimen of this approach. The Deweyan understanding of public art is illuminated and defended with the help of a reading of John Adams's On the Transmigration of Souls—a piece composed in memory of the victims of 9/11—that highlights its capacity to generate such communal experiences that have a fundamental role in Dewey's theory of democracy. (shrink)

This paper explains the discipline of somaesthetics, which emerges from pragmatism's concern with enhancing embodied experience and reconstructing the aesthetic in ways that make it more central to key philosophical concerns of knowledge, ethics, and politics. I then examine Beauvoir's complex treatment of the body in The Second Sex, assessing both her arguments that could support the pragmatic approach of somaes-thetics but also those that challenge its bodily focus as a danger for feminism.

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

To avoid teleological interpretations, it is important to make a distinction between functions and uses of consciousness, and to address questions concerning the consequences of consciousness. Assumptions about the phylogenetic distribution of consciousness are examined. It is concluded that there is some value in identifying consciousness an exclusively human attribute.

In his work on aesthetics, John Dewey provocatively (and enigmatically) called art the "most universal and freest form of communication," and tied his reading of aesthetic experience to such an employment. I will explore how art, a seemingly obscure and indirect means of communication, can be used as the most effective and moving means of communication in certain circumstances. Dewey's theory of art will be shown to hold that art can be purposively employed to communicatively evoke a certain experience through (...) an auditor's experience of an art object. Such a use is shown to be an extension of Dewey's conceptions of scientific method and the role of experience in criticism and communication, and is discussed in light of examples drawn from contemporary film, sculpture, and classical Japanese poetry. (shrink)

Literary education exposes students to unpredictable critical moments in their encounters with a text. Drawing on Dewey’s transactional realism and actor-network theory, this theoretical and conceptual study explores the performativity of things and materials as they shape reading and teaching bodies. This transactional performativity extends beyond the physical positioning of the body to the power relations enacted in text situations. The conceptual rationale is illustrated by a story about a reading chair in a detention home for detained young men—an environment (...) where power issues come to a head. The story illustrates a theoretical discussion of what might be characterized as performing ‘the critical’ in reading and how potentialities for students’ experiences are created in text situations by the different components involved. The purpose of the article is to explore the potentialities of performing critical aspects of reading to challenge, to transform, and to encourage resistance. (shrink)

ABSTRACTIn this essay, I defend sport as a hobby in contrast to sport as a ‘mutual quest for excellence through challenge’. With the assistance of ideas found in the novel Don Quixote, I rai...

This paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...) of the most intense forms of aesthetic experience. These analyses are then contrasted with a potentially contradicting take on aesthetic experience from a recent trend in cognitive science, namely enactive aesthetics, which insists on the active subjective construction and sense-making of aesthetic experience. Finally we show that the two positions are in fact compatible. (shrink)

The aim of this study was to examine the role of aesthetic practice in elementary school and the consequences for children’s meaning-making in science. More specifically, we intended to scrutinise what science learning emerges within the process, to target the consequences of adopting art practice in science class and to explore these two dimensions as a whole in order to better understand how children make meaning when exploring animals’ ecology. The data, comprising audio recordings, photographs of children’s drawings and field (...) notes, were collected in one school which we visited on three occasions over a period of four consecutive days. The school is located in Sweden, and the children participating in the study were between 6 and 7 years old. In this particular study, the children were involved in exploring animals’ ecology. Data was analysed by means of practical epistemology analysis, taking its stance in Deweyan pragmatic philosophy on learning and meaning-making. The results reveal that art practice was important for children’s cognitive and aesthetic learning in science. The entanglement of science learning and art-in-the-making was shown to be of significance for broadening and deepening children’s science repertoire. In addition, children’s imagination and creativity was a vital part of their meaning-making when exploring a complex phenomenon, such as the spinneret, the “spider-thread machine”. All along the process, the young learners, in transaction with the contextual features, developed agency meaning that the children owned the problems and developed action strategies through art and speech. (shrink)

This paper addresses the problem of “the insufficiency of now” that stems from the entanglement of education with time. Namely, the embodied-lived present is always inferior compared to the hypothetical ideal future. Education and its promise hence carry the seed of inevitable disenchantment. This problem is examined based on two contrasting perspectives: Plato’s cave allegory and its application to contemporary schooling on the one hand and the Yogacara Buddhist “mind-moments” model on the other hand. The insufficiency of now emerges from (...) both models in different ways; however, the latter model accentuates the mind’s role in its formation. The paper then describes mindfulness practice in light of the latter model, and suggests that it may be a necessary pedagogy for addressing a problem that is inherent in the concept of education and in the mind. However, the teaching of mindfulness itself has to overcome the present/future dualism that is the basis for the insufficiency of now. (shrink)

Whether the word ‘passion’, as indicating the suffering or affection from without of a soul, is by now no more than a dead metaphor, surviving from an antique conception of the mind; whether, indeed, there is any way open to us of determining the passivity or otherwise of our inner life, apart, that is, from how it strikes us, from how we are prompted to describe it, are not questions that I can take up this evening. It is enough for (...) my purpose that for much of the time our feelings, our emotions, our inclinations are as fluctuating or as imperious as if they were not totally under our control. We are elated: we are dejected: we get angry, and then our anger gives place to a feeling of absurdity: we remain in love with someone who is lost to us but whom we cannot renounce: we are interested in something, and suddenly we are bored, or frightened that we will be bored: we see a stranger, someone who is nothing to us, who is poor or crippled, and we feel guilt: someone does something wrong or foolish, and we are unaccountably transported by laughter, by ‘sudden glory’ as Hobbes called it, knowing what it was about, and then, as unaccountably, we are thrown down. Man is, in Montaigne's famous phrase, une chose ondoyante, a creature of inner change and fickleness. (shrink)

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)

I describe how close attention to the process of sculpting clay from the perspective of Material Engagement Theory can create a detailed description of a mutable sense of agency and of self. First, I show that sculpting is associated with a loss of sense of agency and self. Second, that to sense agency as a systemic phenomenon creates anxiety. Third, that meaning in an art encounter develops in association with an anterospective viewpoint. Fourth, that within the logic of the extended (...) mind, emergent meaning becomes openly available for further exploration. Fifth, that artistic creativity is not an opaque process. It proceeds in a similar manner to other forms of human, sense-making activities. Finally, that playing seriously with clay can be used in an investigative manner—as a tool for material conceptualisation. (shrink)

Although museums of all kinds continue to proliferate, they have lost the capacity to generate big ideas that characterize epistemic shifts, such as evolution, the labour theory of value, or relativity. They have become mere echo chambers for ideas proposed elsewhere. How might museums regain their capacity to generate big ideas? The development of a Tangible Turn in scholarly thinking is leading to a reinvigoration of knowledge claims derived from material things. Museums are well placed to participate in such a (...) reinvigoration, and in some instances – notably in the natural sciences – already are. Yet to do so they must overcome the taxonomic and systematic divisions that in the nineteenth century stimulated but now inhibit creative thinking. How can disciplinary ossification associated with collection definition be overcome? Two possible models are artists' interventions and arrangement according to philosophical principles, yet neither is sufficient. Curatorial scholars should acknowledge the physical and cultural instability of tangible things, and work with these properties to combine things in revelatory ways, eschewing stable categories. This can be accomplished most effectively in museums associated with universities through collaboration among the scholarly staffs of university collections and with university faculty. (shrink)

This article addresses the issue of units of analysis and atomistic models in psychology taking creativity research as a case study. A classic typology in this area, initially proposed by Rhodes, distinguishes between the four P's of creativity: person, process, product, and press. Continuing an effort to rewrite this basic language of the discipline from a cultural psychological perspective in the form of five A's, the discussion here focuses on bringing relationships to the fore within this framework and problematising strict (...) distinctions between each of the five elements. A closer look at the five A's of creativity, drawing on theoretical considerations and illustrated by interviews with creators working in different domains, reveals the permeable borders surrounding these units and challenges clear divisions between actors and audiences, action and artefacts, actors and artefacts. In the end, it is argued that creative phenomena cannot be properly understood and studied outside of their integrated and dynamic totality defined as a creativity complex. Implications of adopting this “molecular” perspective for theory and methodology are discussed. (shrink)