This study examined the effects of emotional subject matter and descriptive style in short story excerpts on text (e.g. rich in meaning) and reader response-oriented (e.g. liking) ratings. Forty-eight subjects, including equal numbers of trained and novice male and female students, read two examples of each text twice and either generated or received interpretations between readings in a within-subjects design. In general, intellectual challenge slowed the pace of reading, whereas suspense-based arousal increased it. Emotional subject matter had a more powerful (...) effect than descriptive style on both cognitive (challenging, rich in meaning) and affective (expressive, personally relevant) scales and were read more quickly. Generating interpretations fostered subjective reactions to the Emotional excerpts (images), whereas Descriptive texts were less amenable to subjective responses. Consistent effects were also found for background and gender. As in everyday life, subject matter had a dominant effect in engaging a person's involvement. (shrink)

A senior level capstone design experience has been developed and offered with a particular emphasis on many of the professional issues raised in Accreditation Board for Engineering and Technology (ABET) Engineering Criterion IV. The course has sought to develop student awareness of the ethical foundation of the engineering profession, the global and societal framework within which engineers practice, and the environmental impact on engineering. The capstone design course also focused upon improving the technical communications skills of the graduating senior class (...) with both extensive instruction in writing and multiple workshops dealing with the art of making an effective oral presentation. The effectiveness of the design course was assessed using Kirkpatrick’s model for evaluating training programs. (shrink)

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

We discuss the difference between formal and natural languages, and argue that should the language metaphor have any foundation, it’s analogy with natural languages that should be taken into account. We discuss how such operation like reading, writing, sign, interpretation, etc., can be applied in the realm of the living and what can be gained, by such an approach, in order to understand the phenomenon of life.

Topical Themes in Argumentation Theory brings together twenty exploratory studies on important subjects of research in contemporary argumentation theory. The essays are based on papers that were presented at the 7th Conference of the International Society for the Study of Argumentation in Amsterdam in June 2010. They give an impression of the nature and the variety of the kind of research that has recently been carried out in the study of argumentation. The volume starts with three essays that provide stimulating (...) theoretical perspectives on argumentation. Subsequently, some views are explained on the intriguing topics of ‘dissensus’ and ‘deep disagreement’. After a discussion of three different approaches to the treatment of types of argumentation some classical themes from antique argumentation theory are revisited. The new research area of visual argumentation is explored in the next part. The volume concludes with three reports of experimental studies concerning argumentative discourse. The volume starts with three essays that provide stimulating theoretical perspectives on argumentation. Subsequently, some views are explained on the intriguing topics of ‘dissensus’ and ‘deep disagreement’. After a discussion of three different approaches to the treatment of types of argumentation some classical themes from antique argumentation theory are revisited. The new research area of visual argumentation is explored in the next part. The volume concludes with three reports of experimental studies concerning argumentative discourse. The volume starts with three essays that provide stimulating theoretical perspectives on argumentation. Subsequently, some views are explained on the intriguing topics of ‘dissensus’ and ‘deep disagreement’. After a discussion of three different approaches to the treatment of types of argumentation some classical themes from antique argumentation theory are revisited. The new research area of visual argumentation is explored in the next part. The volume concludes with three reports of experimental studies concerning argumentative discourse. (shrink)

Women have been excluded from the mainstream development of computer hardware and software. Consequently there is an imbalance in the masculine and feminine characteristics, functioning and applications of computing. A masculine approach is encoded into the technical personality of computing, and in the skills and knowledge necessary to utilise computers. The feminine perspective broadens the scope and objectives of computing. This paper examines the current computing culture, and proposes new models for computing that embrace the methodology of creative thinking.

This paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on a farm, (...) in shopping malls, on public transport networks and at national monuments during different moments in Singapore’s rapid urban transformation. From these examples, one is able to understand why The Artists Village openly intervened in the public spaces of Singapore and how these interventions functioned in their limited scope. Through this study we are able to assess how the varying levels of collaboration, openness and criticality present in their public art projects enabled them to grow outside the centralised system of the nation-state in inserting their practice into the public sphere and engaging the masses. (shrink)

In the pursuit of a dramaturgy of telematics as a compositional practice, the author builds a position on technology as externalized technique, develops a dramaturgic strategy with notions of an extended theatre practice and reports on a realized telematized performance where a practical implementation was explored. The theatrical site is viewed as a construct of attention, generated by the performers through the performance composition. The composition determines the audience experience, orchestrated by how the construction of the site manages their perspectives, (...) and how the performers are situated in the consciousness site of the audience. In the performed event the performers articulate as a collective extended entity, incorporating the transformation of the performance site via the articulation strategies implemented in the staging. Telematics is argued to be a technology facilitating specific modes of thinking, generating specific modes of actions and presence, which enable new performance sites and new modes of situating performance. (shrink)

This paper explores a form of activism that operates with and within matter. For more than 150 years materialism has informed activist practice through materialist conceptions of history and modes of production. The paper discusses the ambivalences of these previous configurations of activism and materialism and explores possibilities for enacting activist interventions in conditions where politics is not only performed as a politics of history but as the fundamental capacity to remake and transform processes of matter and life. What is (...) activism when politics is increasingly performed as a politics of matter? What is activism when it comes to a materialist understanding of matter itself? (shrink)

This paper will examine the importance of Marcel Duchamp’s La Machine Célibataire (The Bachelor) on Art and Technology in the 20th and 21st centuries.

The aim of this article is to explore how, and to what extent, Italian thought – by its focalization on pre-modern theoretical issues and its distance from classical modern topics, such as the philosophy of conscience or the transcendence of language – can offer a different insight on contemporary social theory and critical theory, after the dissolution of the idea of totality as a foundational concept of modernity. In the last decades, a frame named ‘Italian theory’ has started to circulate (...) in international theoretical debates, often with the aim of replacing the exhausted paradigms of poststructuralism, postmodernism and deconstructionism. Indeed, ‘Italian thought’ seems to offer new insights, thinking about the ‘post-totality’ era in a different way. In the article we present a synthetic cartography of Italian thought and we analyse the way in which it can contribute to design new horizons for social theory. (shrink)

The focus of the paper is on Gadamer’s claim that “Aesthetics has to be absorbed into hermeneutics.” Our initial aim is to contextualize the statement, emphasizing its controversial nature, given that the context specific meaning of the claim can seem commonsensical. Accordingly, the first part of the paper is devoted to developing the historical tension between philosophy and art. Towards the latter half of the paper, the task is to examine Gadamer’s thesis in light of this history. Evaluating Gadamer’s position (...) within the philosophical tradition, we will take recourse to Bubner’s critique of an “aesthetics of truth.” While judging Bubner’s critique to be accurate, we will also stress certain peculiarities that potentially undermine his critique—especially as it concerns Gadamer. Here, the most critical aspect has to do with his critique of the notion of “the work,” which figures as the cornerstone of his critique of modern-day aesthetic theory. We will show that insofar as Bubner argues from a critique of the work anchored in modern art, then, as far as Gadamer is concerned, he is arguing from a notion of the work that was never theoretically espoused to begin with. We will conclude with an argument for the claim that the artwork on Gadamer’s account is hermeneutically structured. For only on such a conception, we argue, can he be taken as living up to his promise of doing justice to the experience of art. (shrink)

The goal of this paper is to encourage participants in the debate about the locus of cognition (e.g., extended mind vs embedded mind) to turn their attention to noteworthy anthropological and sociological considerations typically (but not uniquely) arising from transhumanist and posthumanist research. Such considerations, we claim, promise to potentially give us a way out of the stalemate in which such a debate has fallen. A secondary goal of this paper is to impress trans and post-humanistically inclined readers to embrace (...) (or at least seriously reflect on) the extended mind thesis as a potential gamechanger to the state of play in their own debates. We start off (Sect. 1) by reviewing two crucial ideas (homo faber and plasticity of the body schema) that are instrumental in setting up the dispute between extended and embedded. We then summarise (Sect. 2), the stalemate between these two competing accounts of cognition, and review some of the dialectics underlying it. In Sect. 3, to get out of the stalemate, we propose to focus on a series of important anthropological and sociological considerations derived from and related to trans and posthumanist research. In doing so, we claim (Sect. 4) that an extended approach to cognition becomes anthropologically preferable and morally as well as socially more desirable than an embedded one. (shrink)

The following paper draws upon a formerly published paper of mine (Krátky, 2021) where text perception was analysed from the perspective of the recipient. As its logical continuation and completion, this paper deals with the author’s viewpoint in the process. Various related aspects are identified, observed and studied, such as the ‘author’s strategy’, the evaluation of the recipient, the intended goals, as well as other important factors that influence the final text. Special attention is paid to all such aspects of (...) communication pragmatism that are reflected by the author’s (more or less controlled) deviations from the norm, aptly made to achieve communication goals. Within this framework, the study strives to show the different roles that the factor termed ‘expectation violation’ takes on when strategically applied by the author in the process of text creation. To support this description, numerous observations by authors such as Grice, Burgoon, Gombrich, Iser etc. are employed. By tackling the author’s viewpoint on text creation, a claim is advanced concerning the plausibility of certain conclusions, theories and, possibly, laws, by virtue of the identification and observation of selected multi-domain principles, phenomena and tendencies. (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 this article, we describe a longitudinal inquiry into what it means to be a person in our contemporary world. Our method constitutes a dynamic, non-objectifying fusion of empirical and philosophical anthropology. Field-based anthropology examines actualities: how people lead their lives and talk about them. Philosophical anthropology addresses possibilities: who and what people could become in light of actualities while not being determined by them. We describe and illustrate our fieldwork in the classrooms of 16 teachers who work in New (...) York City public schools. We have sought in our observations to identify and think about signs or expressions of persons-in-the-making. We also touch on a series of dinner-discussions we have held with the teachers. These meetings have centered on the question of becoming a person in today’s political and cultural environment, and how education figures into the equation. Finally, we also describe the weekly meetings we have held as a research team, in which we engage the play of concepts and percepts. We close with remarks on the conceptual and existential ties that can link philosophy and fieldwork in schools. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

"The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and continuity. He discusses (...) the relation of kitsch to fine art, arguing that fine art also has as its primary function a counter-movement to modernity. He suggests that the main difference between fine art and kitsch is that fine art, as well as its emotional function, also involves a reception context that allows it to assume an intellectual task. Among the writer's conclusions, he finds that positing a stark or absolute contrast between kitsch and fine art is unjustifiable as both have the same roots and objectives." [WilsonWeb]. (shrink)

This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection to (...) it. (shrink)

The special issue of Methis on literature and openness brings together the oeuvres of two remarkable Estonian authors with an international scope: Jaan Kaplinski and Ilmar Laaban. They were poets, translators, essayists, original thinkers and public intellectuals whose works have travelled far beyond the boundaries of Estonian literature. Jaan Kaplinski published more than 60 books in Estonia and equally many abroad, as his work has been translated into more than 30 languages. Ilmar Laaban fled Estonia for an exile in Sweden (...) to escape Soviet occupation in the spring of 1943. He has left his mark on Estonian literary history with his surrealist collection of poetry Rroosi Selaviste and practising the genre of text sound poetry in Estonian, Swedish and French. Jaan Kaplinski’s name was put forward as a possible candidate for the Nobel prize in literature on several occasions. Laaban, who was well acquainted with contemporary European literature and its authors, translated into Swedish poems by the German-Jewish poet Nelly Sachs who received the Nobel prize in 1966, while Kaplinski rendered into Estonian poetry by Tomas Tranströmer, the Swedish recipient of the prize in 2011. Kaplinski also pointed out that it was the anthology 19 moderna franska poeter, co-edited by Laaban and Erik Lindegren, that had given Tranströmer an impetus towards becoming a poet. In addition, similarities of outlook have also been observed between Tranströmer and Kaplinski himself. For instance, Ivar Ivask, a long-time editor-in-chief of the Oklahoma-based journal World Literature Today, underscored the significance of openness in Tranströmer’s poetry, while his dedicatory poems to Kaplinski and Laaban connect the authors with such notions as scope, infinity, openness, eternity and freedom. Openness appears as the core concept in this cluster of notions related to a lack of boundaries and contractedness in time, space and society that becomes manifest in the oeuvres of both Kaplinski and Laaban. Their works are also characterised by an intense engagement with the semantic possibilities afforded by different languages as well as employing linguistic regularities towards the end of formal innovation. 20th-century intellectual history, that provided the context for the creative growth of both authors, involved remarkable cases of addressing of the openness concept, notably by figures such as the philosopher Karl Popper and the semiotician Umberto Eco. Popper famously launched his concept of open society as one in which an individual has to face personal decisions, which opposes it to a magical or tribal totalitarian society. In the artistic realm, Eco discussed the open work that involves the audience’s collaboration with the author in detecting meaningful arrangements in the work, making artistic response an interactive process. Such plurality and multiplicity accompanies formal innovation that correlates with a modern, avant-garde feeling for life. The 20th century also gave rise to personality psychology that considers openness to be one of the key personality dimensions, the so-called Big Five. In psychology, openness involves receptivity to new experiences, creativity, intellectual curiosity, and an advanced aesthetic sense. Recent studies have shown that particularly the presence of the latter two components tends to be in correlation with an environmentally aware outlook. Kaplinski and Laaban belonged to different generations and spent their formative years in markedly different conditions yet were united in the attention they paid to language as a system of signs and to studying its possibilities in their creative work, which in Kaplinski’s case was framed by an explicitly ecological take on life. The present special issue on literature and openness comprises six studies concentrating on facets of Jaan Kaplinski’s and Ilmar Laaban’s creative universes by literary scholars from both sides of the Atlantic. In addition, the issue includes two articles that deal with representing trauma in literature and theoretical issues in digital humanities. The issue concludes with the section of theory mediation presenting a translation of Ilmar Laaban’s Swedish-language article “Musiken, samhället, revolutionen” that is accompanied by a commentary by Hasso Krull. (shrink)

This thesis explores the ethical impact of literary narrative fictions on the reader. It does so by focusing mainly on the reading experience since one of the main claims of the thesis is that literary narrative fictions are co-products of the author and the reader. In that sense the aforementioned impact cannot be understood without taking into account the creative acts of the reader. The exploration is carried out by focusing on three scholars whose investigations on the problem of literary (...) experience can be read as complementary works. In the first chapter I descriptively lay out Roman Ingarden’s investigation on the ontological and structural character of the literary work of art along with his phenomenological inquiry into the cognition of this work. By examining his basic claims about the nature of the literary work of art and its cognition, I discuss the ontological incompleteness of these works which necessitates the active role of the reader in giving the work its final shape. In the second chapter I focus upon Wolfgang Iser’s reader-response theory. Iser’s theory goes parallel to Ingarden’s in the sense that they both accept the openness of the work to the creative acts of the reader. Iser, however by his notions of depragmatization, negation and negativity suggest us a two-way traffic between the fictional work and the reader. Through the reading proses, by virtue of the negations and de-pragmatizations, the work invites the reader to reflect on the familiar norms it represents and suggest to her a new model to understand the real world. In this way, while giving a shape to the work, the reader is also shaped by it. The third chapter addresses the phenomenological hermeneutics of Paul Ricoeur. By exploring his notion of “narrative identity” as a mediator between the ipse and idem identities, my aim is to show the influence of the literary fictional narratives in understanding the identity of the individual subject as a temporal, historical, and intersubjective being. It is only through this understanding that we can construe the subject in her ethical identity. I will also focus on Ricoeur’s notions of “emplotment,” and “threefold mimesis,” which implies the active role of the reader in realizing the literary narrative fiction, so that I can reveal how fictional narratives enhance the notion of narrative identity. (shrink)

The notion of authorship has been widely discussed since the proclamation of the Death of the Author in mid 20th century. Authors are still writing, but a variety of new forms of authorship and new kinds of relations between authors, texts and readers have emerged. Many new forms of authorship are enabled by the use of digital media, which provide a new layer of hypertextual and interactive software in between the ‘author’ as a representation of the human creator and the (...) author as an indexical reference to a text. The paper present a number of these forms which are based on the use of ‘avatars’ as intermediaries between the human individuals and the stories told. It is argued that the use of digital media opens for new trajectories in the development of authorship forms, and that such new trajectories calls for new sorts of research questions and development of new methods. (shrink)

The following paper is based on a broad understanding of communication that considers as text basically anything that has been created within the framework of a cultural interaction by an author and that is perceived by a recipient. The first part of the paper introduces, explains and follows mostly cases in which the author’s violations of the recipient’s expectations have a communication value, i.e. provoke, in the recipient, a communication effect that matches the author’s intentions. In such cases, this effect (...) results as a consequence of an violation of the communication „cooperative“ principles. This, at the recipient’s end, translates into an event of expectancy violation. Each of such violations provokes an arousal in the recipient, which further motivates him/her to search for its cause. Finding this cause, and being “confronted” with the related violation pertaining to it with the norm equals, for the recipient, getting to the meaning of the text, or identifying its communication value etc. As part of the conclusion, a commented scheme is presented which offers a spectrum of possible communication outcomes “positioned” between the predictability of each textual element and the stochasticity of choice. The effort to illustrate all the explained facts results, in the paper, in a rich set of examples stemming from miscellaneous spheres of human activity – from “high styles” to rather day-to-day activities, to pop-culture. The objective is to show that the described principles, if not valid in general, permeate at least all forms of interaction. (shrink)

This dissertation deals with the tragic vision that motivates certain key aspects of Theodor W. Adorno’s philosophy. While in the formative early work, the Dialectic of Enlightenment, co-written with Max Horkheimer, the tragic views are clear, in later works, such as the Aesthetic Theory and the Negative Dialectics, they are only implicit. The study reconstructs the tragic vision found in the Dialectic of Enlightenment and uses it as a key to understand Adorno’s mature philosophy. A tragic vision is born when (...) specific philosophical convictions regarding agency and morality coalesce with certain ethical and political conditions. A tragic vision forms the grounds for tragic views. For Adorno, the key convictions rise out of the failures of reason and culture to enable the eradication of unnecessary suffering by creating the kind of conditions in which human beings could flourish. These convictions give rise to a view of humanity as blind to its own shortcomings and thus doomed to perpetuate suffering in the name of progress and growth. Adorno’s persistent negativism prevents him from offering practical solutions for changing the world, but he does offer a scathing critique of the modern world that continues to resonate with new generations of readers. The analysis of the tragic vision presented in this dissertation will highlight the fundamental philosophical and ethical commitments underlying Adorno’s views and will thus allow both situating his work into a larger cultural context and juxtaposing it with the work of other philosophers, as well as other writers, thereby opening new vistas for research not just on Adorno but on continental philosophy, social theory, and the domain of arts and letters at large. (shrink)

"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...) the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (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)