In lieu of an abstract, here is a brief excerpt of the content:Art as Occupations:Two Neglected Roots of John Dewey's AestheticsAuthors: Fabio Campeotto (Consejo Nacional de Investigaciones Científicas y Técnicas, CONICET, Univ. Nacional de La Rioja); Juan Manuel Saharrea (CONICET, Universidad Católica de Córdoba-Unidad Asociada al CONICET) and Claudio M. Viale (CONICET, Universidad Católica de Córdoba-Unidad Asociada al CONICET). Campeotto and Saharrea contributed similarly to the development of this work. Language edition: Rita Karina Plascencia, https://www.rkplasencia.com/. This article was made in (...) the frame of two research projects: "Pragmatismo y educación: Fundamentos teóricos y abordajes empíricos," financed by the Universidad Católica de Córdoba (2019–2023); and "Praxis, experimentalismo, aprendizaje y democracia: hacia una reevaluación de la filosofía de la educación contemporánea," PICT 2020 serie A 01539 financed by the Fondo para la Investigación Científica y Tecnológica (FONCyT). Both projects were under the direction of C. M. Viale.undoubtedly, art as experience1 is one of the most important texts by John Dewey, as well as his most systematic approach to aesthetics.2 This book usually appears in the literature as an almost mandatory reading for interpreters of classical pragmatism, and it is praised as an ineludible reference for those interested in aesthetics from a pragmatic point of view. However, this justified centrality tends to invisibilize two important veins of Dewey's thought: the vital role of his fragmentary or piecemeal approach to aesthetics, on one hand, and the relevance of his educational conceptions in relation to aesthetics, on the other.Going beyond the centrality of Art as Experience toward a comprehensive and contemporary view of Dewey's aesthetics entails looking upon three elements of his thought: Firstly, Dewey's works—some of them considered minor and some implicit or sporadic references in canonical texts—depicting the links between education and aesthetics in his philosophy as well as texts that belong to his fragmentary approach to aesthetics. Secondly, his systematic development of aesthetics, mainly in Art as Experience, where Dewey presents his conceptions at length. Thirdly, what we could call a re-evaluated aesthetics, which consists in a contemporary attempt to integrate diverse aspects of his philosophy, trying to overcome some weaknesses in his theoretical developments, especially regarding his dealing with the links between education and [End Page 1] aesthetics. It is necessary to remark that these links were neither adequately addressed by Dewey nor exhaustively examined by the literature, as far as we know. We hold that it is crucial to make them critically explicit, in order to get fruitful contemporary approaches not only to Dewey's aesthetics but also to his pedagogy and philosophy of education.Thus, the core question of this article is the following: How should the educational root of Dewey's aesthetics have worked? Or, more precisely, how should he have explicitly or meticulously conceived aesthetics in relation to his educational developments? We think that two neglected roots of Dewey's writings related to aesthetics can help us to re-evaluate it: what we call its fragmentary approach and Albert C. Barnes's role in it, on one hand, and a coherent articulation among occupation, art teaching, and the overcoming of the distinction between vocational and humanistic education, on the other.To carry out our task, we have divided this article into three parts. In the first (The Genesis of Dewey's Aesthetics: A Re-interpretation), we argue how to interpret the emergence of Dewey's aesthetics. In the second (Dewey and Education: Central Issues), we present the key aspects of this topic related to our purposes. In the third section (Two Neglected Roots of Dewey's Aesthetics), we develop our argument by describing how to recover these sources, and also by showing how Dewey's aesthetics could be critically re-evaluated or reconstructed from a contemporary viewpoint. Finally, we put forward a conclusion.The Genesis of Dewey's Aesthetics: A Re-interpretationIt is well-known that Dewey's aesthetics is usually equated with Art as Experience. This is part of the canonical interpretations that tend to conceive Dewey's philosophy in, using his term, grooves (LW 2:113). Democracy and Education... (shrink)

In order to judge artworks, that is, to understand and to appreciate artworks, David Hume states in his essay Of the Standard of Taste that a good critic needs a particular kind of art education, one summarized in his five criteria for establishing a standard of taste: 1. "delicacy of imagination"; 2. "practice in a particular art and the frequent survey or contemplation of a particular species of beauty"; 3. "form comparisons between several species and degrees of excellence, and estimating (...) their proportion to each other"; 4. "free from all prejudice"; and 5. "good sense," which not only checks the influence of prejudice but also by means of keen reasoning allows the good critic to comprehend the artwork... (shrink)

Este artículo trata de ampliar el enfoque de estudio de la noción deweyana de naturaleza mediante un análisis comparado con la concepción que Confucio propone en las Analectas. Siguiendo la metodología comparada desarrollada por los autores Roger Ames y David Hall, este estudio atiende a las cualidades que el filósofo estadounidense le atribuye a dicha noción en relación con los caracteres chinos xing y tian. El objetivo de esta aproximación no reside en poner de manifiesto similitudes forzadas, sino en enfatizar (...) el contraste de ideas, las diferencias que distinguen los autores comparados. Obviamente, para establecer este diálogo estos filósofos deben compartir algunas ideas comunes y este será el aspecto significativo de esta comparación: subrayar las conexiones entre ambos filósofos, sin olvidar el contexto y los diferentes influjos desde los que estos dos pensadores desarrollan sus propuestas. (shrink)