The story of the rise and fall of pragmatism is sometimes called the eclipse narrative. This paper addresses a specific version of this narrative that the logical empiricists arrived in North America in the 1930s and within 30 years had supplanted the pragmatists as the dominant philosophy there. Philosophers such as Alan Richardson and Cheryl Misak have challenged this view by emphasizing the similarities between these two movements. While both seem to admit that there is a distinction between the two (...) when it comes to values, I point out that the issue of values feeds into all aspects of pragmatist thinking, and so despite what seems on the surface to be agreements between the two movements, they were still quite different in all areas of their thinking. I challenge the degree of similarities by arguing that there were some sharp distinctions between the two movements, with the most important being the fact-value distinction and its impact on how each conceived of the term “practical.” I close by addressing how these distinctions should affect how we conceive of the eclipse narrative. (shrink)

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)