This paper opens with a presentation of the philosophical underpinning and rationale of the concept of physical literacy. This is followed by an articulation of the concept of physical literacy. Three subsequent sections then consider aspects of the concept in a little more detail. The first investigates the relationship of the physical literacy to the development of a sense of self and to establishing interaction with others. Here the philosophical approach is informed by writings on cognitive development and recent neurological (...) insights. The second considers the universality of the concept and looks briefly at the views of existentialists and of contemporary sociologists. The third section addresses the place of propositional knowledge in being physically literate. The implications of objectifying the body in descriptive language are weighed against the fact that verbally expressed understanding and knowledge are an integral part of Western culture. The debate presented is one of a series that has, over the last five years, mapped the author's work on developing the concept of physical literacy. The aspects chosen to be discussed here are three that have generated considerable interest and debate. In conclusion, there is a short reflection on the implications of the views discussed for education and physical education. (shrink)

Mitchell's formulation of the chemiosmotic theory of oxidative phosphorylation in 1961 lacked any experimental support for its three central postulates. The path by which Mitchell reached this theory is explored. A major factor was the role of Mitchell's philosophical system conceived in his student days at Cambridge. This system appears to have become a tacit influence on his work in the sense that Polanyi understood all knowledge to be generated by an interaction between tacit and explicit knowing. Early in his (...) life Mitchell had evolved a simple philosophy based on fluctoids, fluctids and statids which was developed in a thesis submitted for the Ph.D. at the University of Cambridge, England. This aspect of his work was rejected by the examiners and became a tacit element in his intellectual development. It is argued from his various publications that this philosophy can be traced as an underlying theme behind much of Mitchell's theoretical writing in the 50's leading, through his notion of vectorial metabolism, to the formulation and amplification of the chemiosmotic theory in the sixties. This philosophy formed the basis for Mitchell of his understanding of biological systems and gave him his unique approach to cell biology. (shrink)

This paper is based on a study of museum visitors’ experience of paintings: in particular, the experience of adult non-art specialists. Phenomenology, a form of inquiry that seeks to articulate lived experience, provided the philosophical and methodological framework for the study. Descriptions and themes relating to the experience of paintings were generated from interviews conducted with eight participants. These themes were categorized into two major areas: the articulated aspects and the non-articulated aspects. The former refers to aspects that people can (...) articulate when they describe their experience. For example, they talk about the formal qualities of paintings, related textual information, and the museum environment. The latter refers to aspects that people cannot articulate. For example, they have difficulty in expressing their feelings, their relationship with time, and an understanding of the role of the body. This paper focuses on the aspects that museum visitors cannot articulate when they describe their experience. This inarticulateness provides insights into certain overlooked features of the experience: the embodied nature of the experience, the way time is experienced, and the viewer’s feelings about paintings. The paper ends with a discussion of the implications of the study for art educators. It is suggested that teachers should prepare students in ways that will enable them to make use of their various cognitive, social and cultural frameworks in experiencing works of art. (shrink)