In this paper I ask how educational researchers can believe the subjective perceptions of qualitative participant-observers given the concern for objectivity and generalisability of experimental research in the behavioural and social sciences. I critique the most common answer to this question within the educational research community, which posits the existence of two (or more) equally legitimate epistemological paradigms—positivism and constructivism—and offer an alternative that places a priority in educational research on understanding the purposes and meanings humans attribute to educational practices. (...) Only within the context of what I call a transcendent view from somewhere—higher ideals that govern human activities—can we make sense of quantitative as well as qualitative research findings. (shrink)

Anhand der Schillerschen Konzeption des Scheins und ihrer theoretischen Weiterführung durch die Philosophin Susanne Langer wird der anthropologische Stellenwert der Virtualität entfaltet und in seinen Entlastungspotentialen sowie Hermetisierungsproblematiken mit Blick auf professionshermeneutische Fragestellungen bezogen, die in der Polizeiseelsorge von Bedeutung sind.

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...) parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide insights into (...) dance, notably because being largely tethered to happenings in the brain, it lacks foundational grounding in experience, specifically, the actual experience of movement, which is to say in kinesthesia. (shrink)

This paper focuses on the emergent neo-Jamesian perspective concerning the phenomenology of art and aesthetic experience. Starting from the distinction between nucleus and fringe in the stream of thought described by William James, it can be argued that our appreciation of a work of art is guided by a vague and blurred perception of a much more powerful content, of which we are not fully aware. Accordingly, a work of art is seen as a kind of metaphor of our mental (...) life, objectified to be able to reach out to a much larger audience. However, it is a “realistic” theory rooted in evolutionary psychology, which claims that our mind developed within a framework shaped by environmental pressures. The aesthetics illustrated by several novelists develops a paradigm for this theory. The search for the neuronal correlates of stream of consciousness allows to make a comparison with the recent findings of neuroaesthetics and to reject its claim that it is unnecessary to take phenomenology and psychology into account. (shrink)

Ethik und Seelsorge sind Bereiche, in denen menschliches Sein und Handeln reflektierend begleitet wird, um Orientierung, Unterstützung oder Trost zu geben. Bei Berufen, in denen Menschen auf eine gewaltverstrickte Lebenswelt treffen, ihrerseits staatlich legitimiert Gewalt ausüben und selbst von Gewalt betroffen sind, tauchen dabei besondere Widersprüche und Sinnfragen auf. Diese Herausforderungen in den Blick zu nehmen und an der Schnittstelle von Philosophie und praktischer Theologie zu erörtern, so wie es der Münsteraner Theologe Werner Schiewek richtungsweisend vorgezeichnet hat, ist das Ziel (...) des vorliegenden Bandes. (shrink)

Argues that truth, moral right, political right, and aesthetic value may be understood as arising out of a naturalist account of humanity, if naturalism is rightly conceived.

In this paper, I explore the problems of cultivating a critical attitude in pedagogy given problems with accounts grounded in critical social theory, rational liberalism and pragmatic esthetic theory. I offer instead an alternative account of criticism for education in open, pluralistic, liberal, democratic societies called 'pedagogy of difference' that is grounded in the diversity liberalism of Isaiah Berlin and the dialogical philosophy of Martin Buber. In our current condition in which there is no agreement as to the proper criteria (...) for assessing attitudes and actions, for a critical attitude to gain a foothold one must learn to evaluate proposed beliefs and behaviour-based standards within a particular tradition as well as those drawn from another viewpoint. To know oneself, one must engage others who are different. But to engage others in a meaningful way one must be immersed in a tradition to which one is heir or with which one chooses to affiliate. (shrink)

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and (...) post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge. (shrink)

The journey into the world of midwifery or nursing requires the student to attend to the intertwining of self-body-world in order to shift their knowledge of self-body-world into a client/patient-centered context. One of the teaching-learning strategies used to provide safe opportunities is the use of simulations and virtual practices. Rather than learning intimate acts of touching, or life and death decision-making in situations with actual clients/patients, students enter their learning world with rubber torsos, cloth babies, and cyber clinics. The “other” (...) is a simulated other, not a human. How does the student shift from seeing this simulated other as object to a sense of other as subject? In our world of constant use of technology for communication and entertainment, do students shift in and out of a cyber world easily or are they more captured by the simulated experience than with the human world? Has the human world redefined itself where the intertwining of self-body-world blurs the sense of where human body ends and cyber or simulated world begins? What is the place of Bildung when engaged with a cyber other? As a result of educational challenges, including rising enrolments, limited clinical placement opportunities, and increasing risk management concerns, there has been a proliferation in the use of simulation as a teaching strategy. This has left us –the authors– wondering about the student experience of simulation. What do they learn? How do they learn? How can this learning be applied in practice? (shrink)

This paper proposes a dynamic theory of embodiment that aims to get beyond the absent moving body in embodied social theory. The first somatic revolution, inspired by Merleau Ponty, provided theories based on the feeling and experience of the body. The theory of dynamic embodiment focuses instead on the doing itself as embodied social action, in which the embodied person is fore-grounded as a complex resource for meaning making. This represents a theoretical enrichment of the earlier turn to the body (...) in social theory, which tended to separate the semiotic, as necessarily representational and/or linguistic, from the somatic as a wide range of corporeal processes and practices assumed to be separated from mind, language and/or conscious thought. We argue that overcoming this persistent Cartesianism requires a New Realist approach to the proper location of human agency as a causal power, one that promotes a bio-psycho-social concept of personhood. Part one of the paper presents a general framework for this perspective, while part two applies this paradigm ethnographically to illustrate how bringing semiosis and somatics together requires a robust conception of multi-sensory modalities. (shrink)

John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, being (...) considered as a way of experimenting the impact of new technologies in the human experience. It is a process by which technologies create ‘devices’ for experimenting perception and reflection: namely, ways of reconstructing the nature of the human mind in-between body and technology, and by means of their interaction. Cinema reconsidered after Dewey’s fellow George H. Mead, offers an exemplary case as both artistic and technological devices. (shrink)

In a remark written sometime between 1933 and 1943, Wittgenstein suggests that philosophy ought really to be written as one “writes a poem.” Around this time he also talks of simile as the “best thing” in philosophy. In this paper I consider what it would mean to take such claims seriously. Through examining newly discovered material from the Skinner manuscripts, I offer an analysis of Wittgenstein's approach to literary techniques and see how this impacts on his conception of philosophy.

One of the main article goals are going to be especially analytical, comparing as well as deductive English language specialised reflections of this philosopher and aesthetics-studious person together with our Slovak and Czech language sources. The part of our work is going to be also concentrated on the previous conferential reflections, but an addition of the next, not only her bookish and past characteristics, but also the current Internet ones, that are an integral part of our life and inevitable information (...) sources, is going to be presented too. All these considerations´ result should be the following, closer Langer´s clarification in the 20th and 21st century aesthetics-philosophical world. Due to all the above mentioned ideas, the next article goal of the same interest relevance is going to happen the comparative current/modern authors theories of the philosophical-aesthetics art world insight, concerning the understood and reflected Susanne Langer´s part of her lifetime work so far. Our research should then be focused on closer assembling of our answer to the continually ongoing question about the philosophy of art and aesthetics´s meaning and message of this controversial american philosophical and aesthetics world figure. (shrink)