In the post-War decades political science in the United States has been animated by two seemingly incompatible aims. On the one hand, the discipline is committed to scientific inquiry interpreted in largely positivist terms. On the other hand, the discipline aspires to generate knowledge that might improve democratic politics. I start by sketching pragmatist interpretations of social and political inquiry, of democratic politics, and of how the two are related. Problems of complexity and visibility emerge as central to those interpretations. (...) I then indicate how Edward Tufte’s theoretical analysis of data graphics and the visual politics of the aids activist group ACT UP offer examples of how it is possible to envision complex social and political phenomena in ways that might sustain a democratic relation between inquiry and politics. (shrink)

Few remember Thorstein Veblen (1857-1929) as a connoisseur of beauty or champion of beauty’s importance to an institutionally modern and technologically sophisticated society. Similarly few credit Veblen with any constructive theory of politics. Yet Veblen’s conception of the beautiful, his account of its role in human cultural evolution, and his critique of its perversion in the industrialized societies of the nineteenth and early twentieth centuries are invaluable to contemporary social-aesthetic aims of political and economic reconstruction. In contrast to the Veblen (...) of memory, the real Veblen devoted significant intellectual energy to building a theory of what political thinkers today call public work: creative, negotiated, open-ended production of shared goods by individuals alert both to self-interest and collective needs. Partaking of the rich tradition of philosophical pragmatism, Veblen's social aesthetics also points to that tradition's continuing value for contemporary aesthetic, social, and political theory. Indeed, further augmented by recent advances in cultural evolutionary theory, Veblen’s pragmatist, public-work aesthetics suggests a vision of democratic citizenship defined by cooperative imagination, production, critique, and re-creation of a moral and material commonwealth. The so-called “bard of savagery,” therefore, is better understood as a “bard of democracy,” narrating the travails and affirming the ideals of a culture aspiring to self-government. His is a vision that might lend the fragmented field of social aesthetics a common, compelling narrative of its own. (shrink)

In this paper, I will explore Rorty’s recommendation to shift from a philosophical to a literary culture by addressing this theme through a philosophical-educational lens and in reference to the question of what kind of education we need in order to foster democratic ethos. In this perspective, I will establish a comparison/contrast between Rorty’s idea of sentimental education and Matthew Lipman’s Philosophy for Children understood as two (alternative?) ways of recontextualizing Dewey’s heritage. After discussing Rorty’s understanding of a need for (...) an end (instead of a “Deweyan” recovery) of philosophy starting from his dialogue with Castoriadis and by reconstructing his appeal to a poeticized culture, I will present Lipman’s case for education for philosophical inquiry in order to cultivate a democratic ethos in primary and secondary schools. I will contrast it with Rorty’s education as socialization and, contextually, I will illustrate their different stances towards Hirsch’s cultural literacy and his core curriculum approach to civic education. Finally, after problematizing Rorty’s views on the use of literature for a democratic culture, I will indicate the need to combine the Rortyan and Lipmanian thrusts and will claim that an aspect of the novel-driven education advocated by Rorty maintains a constitutive Socratic-inquiring dimension. (shrink)

This paper seeks to unveil and investigate the close bond existing between the critical project developed by Axel Honneth and Hans Joas in Social Action and Human Nature (1980) and John Dewey’s naturalistic humanism and social criticism. I will contend that these authors develop an original and compelling approach to the critique of the social world, which relies on a naturalistic redefinition of human beings with intersubjective premises. By reconsidering human beings in their continuity and discontinuity with nature, they attempt (...) to identify the specific quality of human action with respect to animal behavior and to employ this category as a criterion for the critique of the social world. On the other hand, the paper will underline how Dewey significantly contributes to the outlining of a contemporary critical project with naturalistic premises. Indeed, his naturalistic humanism provides a systematic metaphysics of human experience to ground social criticism, wherein the underdeveloped elements of Social Action and Human Nature’s analysis of human action are better explained and justified from a theoretical point of view. (shrink)

An overview of a philosophical movement originating in the United States of America in the 19th century.

Careful reading of John Dewey’s The Public and its Problems reveals a weak point at the stage when a given public became self-aware and proceeded to seek representation in the institutions of the state. Aside from a general emphasis on art and science, Dewey’s political theory offered no concrete discussion of the means suitable for this phase of the democratic process. Furthermore, the dichotomy between violence and the peaceful means of art and science left no space for the affirmation of (...) nonviolence – the method most capable of amplifying democracy during the decade following Dewey’s death. Accordingly, the article hypothesizes a novel rendition of nonviolence from the standpoint of Dewey’s understanding of art as social inquiry, compares it with Martin Luther King Jr.’s theory and practice of nonviolent dramatization, and ends by presenting a Deweyan reading of the civil rights movement in terms of the framework contained in The Public and its Problems. (shrink)

In this paper I tackle Gadamer’s and Dewey’s conceptions of art, showing a possible dialogue between American Pragmatism and Gadamerian Hermeneutics. Despite the obvious differences, it is possible to show fundamental commonalities between the two philosophies when it comes to the role of art. They share the double goal of critiquing the aestheticism of modern age, the conception of art as a mere “art for art’s sake,” and of recomposing the continuity between aesthetic experience and everyday life. I argue that (...) this common goal entails a reassessment of the relation between the work of art and the public, a reassessment that has fundamental consequences for the role of art in our societies. The present comparison will also help shed new light on Gadamer’s conception, often accused of being a merely conversative theory. For both Gadamer and Dewey art does not consist in a product of the elites that is given to the spectators: rather, the spectators cooperate with the author in the creation and development of the work of art itself. (shrink)

Roberta Dreon - Richard Shusterman is one of the leading figures in the current field of pragmatist aesthetics and he has undoubtedly played a pivotal role in recovering a pragmatist approach to aesthetics. His book Pragmatist Aesthetics was simultaneously published in France under the title L’Art à l’état vif. La pensée pragmatiste et l’esthétique populaire in 1992, paving the way for a long awaited French translation of Dewey’s Art as Experience (Dewey 1989) in 2010 (Dewey 2005/2010), beaut...

Science is among the most crucial factors for the functioning of modern democracies, yet we tend to conceive of the science-system as mainly driven by its own internal logic and connected with the rest of society via input-output-relations. But does that mean that science is independent from the political system and the cultural life-form into which it is embedded, or is science intrinsically related to democracy? While authors like Hilary Putnam and Philip Kitcher have already tackled these questions, an important (...) part of the problem has hitherto been largely neglected: how is science related to the worldviews one may justifiably hold in a pluralistic society? Arguing with Dewey’s emphasis on the irreducible multitude of human experience, the paper defends a conception of wide “democratic experimentalism” (Frega), in which compatibility with science is crucial for the rational acceptability of worldviews and religions, but scientism is vigorously rejected. (shrink)

In Democracy and Education, in the midst of the pivotal chapter on “The Democratic Conception in Education,” Dewey juxtaposes his educational aims with those of Plato, Rousseau, Fichte and Hegel. Perhaps Dewey believed that an account of their views would help elucidate his own, or he intended to suggest that his own ideas rivaled or bested theirs. I argue that Dewey’s discussion of historical philosophers’ aims of education was also designed to critique his contemporaries subtly and by analogy. My analysis (...) of Dewey’s critique supports a second argument: one of the reasons Dewey’s legacy has been long debated (particularly his relationship to pedagogical progressivism) derives from his reluctance to criticize his contemporaries explicitly and directly. Had Dewey critiqued his fellow American progressives in the same way he did historical European philosophers of the past, his readers would have better understood his relationship to progressive American educational ideas and practices. Yet Dewey’s subtle approach also accounts for the creation of a work that genuinely warrants being called a classic – it rises above the educational debates of the early twentieth century to enter into a conversation with its educational ancestry, a conversation that Dewey propelled forward. (shrink)

In this expansive and highly original two-volume work, Jim Behuniak reformulates John Dewey's late-period "Cultural turn" and proposes that its next logical step is an "intra-Cultural philosophy" that goes beyond what is commonly known as "comparative philosophy." Each volume models itself on this new approach, arguing that early Chinese thought is poised to join forces with Dewey in meeting an urgent cultural need: namely, helping the Western tradition to correct its outdated Greek-medieval assumptions, especially where these result in pre-Darwinian inferences (...) about the world. Relying on the latest findings in Chinese philosophy, these volumes establish "specific philosophical relationships" between Dewey's ideas and early Chinese thought for this purpose, showing how together they can assist us in getting our thinking "back in gear" with the world as it is currently known through the biological, physical, and cognitive sciences. Volume One: Dao and Nature engages Dewey with themes generally associated with "Daoism," and includes discussion of the organization of organic form, teleology, cosmology, knowledge, the body, and technology. Volume One thus works to establish "Chinese natural philosophy" as an empirical framework in which to consider the cultural-level phenomena examined in Volume Two: Dao and Culture. (shrink)

This article compares Axel Honneth’s method of normative reconstruction with John Dewey's method of problem-solving. We argue that Dewey’s method is more open to “radical” measures of social transformation because it does not bear Honneth’s inherent conservative implications. Dewey’s “more radical” measures include, in particular, demands for a socialist transformation of the economy, whereas Honneth’s approach leads to mere reformist proposals within the existing property system, such as the introduction of a minimum wage. We situate this juxtaposition in the more (...) recent discussion on the methodology of critical theories and argue that, despite the recent turn of Critical Theorists towards Dewey’s pragmatic philosophy, the potential of the latter has so far been largely neglected. (shrink)

This paper aims to map and highlight the diverse heritage of Pragmatism in aesthetics. It argues that pragmatist aesthetics represents an interesting third way of doing aesthetics beyond the analytic philosophy of art and continental aesthetics. It offers a first, provisional sketch of existing research trends in pragmatist aesthetics, such as somaesthetics, environmental aesthetics, everyday aesthetics, and social aesthetics. Furthermore, it identifies some “family resemblances” connecting most pragmatist “relatives” in the field of aesthetics: the idea that (1) aesthetics is broader (...) than the traditional philosophy of art, (2) the criticism of the view of art as constituting an independent realm or an autonomous system, (3) the thesis of a basic continuity between artistic practices and experience “in the raw,” (4) the adoption of a naturalistic yet non-reductive stance, and (5) a broadly socio-political inspiration. (shrink)