It is commonly believed that Edmund Husserl (1859-1938), well known as the founder of phenomenology and as the teacher of Heidegger, was unable to free himself from the framework of a classical metaphysics of subjectivity. Supposedly, he never abandoned the view that the world and the Other are constituted by a pure transcendental subject, and his thinking in consequence remains Cartesian, idealistic, and solipsistic. The continuing publication of Husserl’s manuscripts has made it necessary to revise such an interpretation. Drawing upon (...) both Husserl’s published works and posthumous material, Husserl’s Phenomenology incorporates the results of the most recent Husserl research. It is divided into three parts, roughly following the chronological development of Husserl’s thought, from his early analyses of logic and intentionality, through his mature transcendental-philosophical analyses of reduction and constitution, to his late analyses of intersubjectivity and lifeworld. It can consequently serve as a concise and updated introduction to his thinking. (shrink)

In this book, which remained unfinished at his death, Husserl attempts to forge a union between phenomenology and existentialism.

The idea inspiring the eco-phenomenological movement is that phenomenology can help remedy our environmental crisis by uprooting and replacing environmentally-destructive ethical and metaphysical presuppositions inherited from modern philosophy. Eco-phenomenology's critiques of subject/object dualism and the fact/value divide are sketched and its positive alternatives examined. Two competing approaches are discerned within the eco-phenomenological movement: Nietzscheans and Husserlians propose a naturalistic ethical realism in which good and bad are ultimately matters of fact, and values should be grounded in these proto-ethical facts; Heideggerians (...) and Levinasians articulate a transcendental ethical realism according to which we discover what really matters when we are appropriately open to the environment, but what we thereby discover is a transcendental source of meaning that cannot be reduced to facts, values, or entities of any kind. These two species of ethical realism generate different kinds of ethical perfectionism: naturalistic ethical realism yields an eco-centric perfectionism which stresses the flourishing of life in general; transcendental ethical realism leads to a more 'humanistic' perfectionism which emphasizes the cultivation of distinctive traits of Dasein. Both approaches are examined, and the Heideggerian strand of the humanistic approach defended, since it approaches the best elements of the eco-centric view while avoiding its problematic ontological assumptions and anti-humanistic implications. (shrink)

The arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on this topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that (...) children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Nature and Schools:Nils-UdoYoung Imm Kang Song (bio)IntroductionThe arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on this (...) topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on this idea, many scholars suggest that sensory perceptions promote learning through reflection, thus affirming the link between sensory perception and cognitive processing.4 Greene also posits that the arts provide a reflective type of learning, in which students learn "new ways of seeing, hearing, feeling and moving."5 This expressiveness develops from the creative nature of art and its ability to encourage students to "[learn] to learn."6This article focuses on how the arts heighten cognitive experience through the use of natural materials and sites and the engagement with the natural world. The arts expose viewers to new ways of seeing, feeling, and thinking about nature; this can lead to greater awareness of and motivation to act on behalf of nature. Arts-based experiences "encourage contemplative, reflective thought, which can extend environmental awareness, an essential basis for environmental understanding."7 Sharpening sensory and perceptive [End Page 96] skills through observation and creation can offer children insights into the mystery and metaphor of nature.8 Such a powerful experience often fosters aesthetic sensitivity and can also motivate students to act. To assist in this process, teachers can offer a context of factual information, creative idea exploration, interdisciplinary tools, and a sense of social awareness.9Eisner notes that simple natural components, such as those encountered in viewing or creating ecological art, can be enormously powerful when considered from an aesthetic perspective.10 He writes,A tree, for example, can be viewed as an investment in the value of one's property, as a species of flora, as a source of shade, or an expressive form that provides a certain quality of experience when one looks through its leaves just before sunset. The tree's aesthetic features become salient when we choose to perceive the expressive features of the tree.11Greene reinforces the idea that aesthetic understanding can be deeply engaging to learners and can highlight things that had previously gone unnoticed, thus providing new insights in the life of the viewer.12 Viewers experience new connections, identify new patterns, and think in entirely different ways that break from a more constricted viewpoint. It is this kind of fresh thinking that is needed in the field of environmental education, and which ecological art may in fact provide. Click for larger view View full resolutionFigure 1.Nils-Udo, Circle of Calumet Bamboo, Calumet bamboo; 1990, Reunion, Indian Ocean. Photo by Nils-Udo.[End Page 97]In light of these ideas about aesthetics, ecology, and education, several questions are raised. How can an aesthetic experience with the works of an environmental artist lead children to take in more through their senses and to apply such radical openness in any subject that comes up for them? What really makes ecological artworks unique, not only as aesthetic experiences but as learning experiences? How can ecological art in educational settings inform, inspire, and engage students around environmental issues? In this article, I examine the artworks of Nils-Udo, a German artist, by looking at his art-making processes, intentions, and themes. Using illustrations of several of his major works situated in various natural environments, I consider how these artworks could initiate discussions and foster connections to classrooms while providing elementary and middle school students with the opportunities to view and ponder existing artworks, create their own natural artworks, and heighten their ecological awareness.The ArtistIn order to more deeply understand Nils-Udo's life and work, I interviewed... (shrink)

The modern world can be described as a globalized risk society. It is characterized by increasing complexity, unpredictable consequences of techno-scientific innovations and production, and its environmental consequences. Therefore, chemistry, just like many other knowledge areas, is in an ongoing process of environmentalization. For example, green chemistry has emerged as a new chemical metadiscipline and movement. The philosophy of green chemistry was originally based on a suggestion of twelve principles for environment-friendly chemistry research and production. The present article problematizes limitations (...) in green chemistry when it comes to education. It argues that the philosophy of green chemistry in the context of education needs to be extended with socio-critical perspectives to form educated professionals and citizens who are able to understand the complexity of the world, to make value-based decisions, and to become able to engage more thoroughly in democratic decision-making on sustainability issues. Different versions of sustainability-oriented science/chemistry education are discussed to sharpen a focus on the most complex type, which is Bildung-oriented, focusing emancipation and leading to eco-reflexive education. The term eco-reflexive is used for a problematizing stance towards the modern risk society, an understanding of the complexity of life and society and their interactions, and a responsibility for individual and collective actions towards socio-ecojustice and global sustainability. The philosophical foundation and characteristics of eco-reflexive science education are sketched on in the article. (shrink)

Science teaching always engages a philosophy of science. This article introduces a modern philosophy of science and indicates its implications for science education. The hermeneutic philosophy of science is the tradition of Kant, Heidegger, and Heelan. Essential to this tradition are two concepts of truth, truth as correspondence and truth as disclosure. It is these concepts that enable access to science in and of itself. Modern science forces aspects of reality to reveal themselves to human beings in events of disclosure. (...) The achievement of each event of disclosure requires the precise manipulation of equipment, which is an activity that depends on truth as correspondence. The implications of the hermeneutic philosophy of science for science education are profound. The article refers to Newton’s early work on optics to explore what the theory implies for teaching. Modern science—as the event of truth—is a relationship between an individual student, equipment, and reality. Science teachers provide for their students’ access to truth and they may show how their discipline holds a special relationship to reality. If the aim of science teaching is to enable students to disclose reality, the science curriculum will challenge some of the current practices of schooling. If teachers base science teaching upon the hermeneutic philosophy of science, science will assert itself as the intellectual discipline that derives from nature, and not from the inclinations of human beings. Science teachers teach nature’s own science. (shrink)

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own meta-logic. (...) Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

What is wonder? What would it mean to live our lives in wonder or with wonder? Is it possible for wonder to play an integral role in our aesthetic, ethical, and pedagogical experiences? Philosophy is said to begin with wonder. For Plato, wonder is the arche that grounds all philosophical inquiry. I propose to begin my ethical and aesthetic investigation of wonder with Plato, but, unlike Plato who places the imagination’s capacity to be astonished at the bottom of a hierarchy (...) that quests for knowledge and understanding, I will argue that an ethics and aesthetics based on wonder would allow for the imagination to play an active role in all our encounters. First, I look at different philosophical treatments of wonder and then consider the role wonder plays as a virtue. Next I examine the wondrous in relation to aesthetic and ethical experiences, exploring art exhibits and a play, and conclude by drawing upon the many sides of wonder and considering its role in education. In my wanderings on wonder, I seek to value wonder as an integral part of ourselves, in all our imaginings, understandings, growth, and knowledge acquisition. (shrink)

Aesthetics is today widely seen as the philosophy of art and/or beauty, limited to artworks and their perception. In this paper, I will argue that today's aesthetics and the original programme developed by the German Enlightenment thinker Alexander Gottlieb Baumgarten in the first half of the eighteenth century have only the name in common. Baumgarten did not primarily develop his aesthetics as a philosophy of art. The making and understanding of artworks had served in his original programme only as an (...) example for the application of his philosophy. What he really attempts to present is an alternative philosophy of knowledge that goes beyond the purely rationalist, empiricist, and sensualist approaches. In short, Baumgarten transcends the old opposition between rationalism and sensualism. His core theme is the improvement (perfectio) of human knowledge and cognition and the ways to reach this goal. The study of Baumgarten's foundational works on aesthetics should not be undertaken merely out of antiquarian interest. I will argue, instead, that Baumgarten's importance and contemporary relevance lies in this: that his Aesthetica may serve as a profound contribution to the philosophy of the cultural sciences and humanities. Revisiting Baumgarten's original idea of aesthetics will lead us to a more inclusive concept of that philosophical discipline. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

Harvey (philosophy, U. of Central Arkansas) argues that the phenomenology of German philosopher Edmund Husserl is a response to the dualisms that emerged from 17th c. philosophy. He sheds light on the relation classical phenomenology has to broad concerns in the history of philosophy. Annotation copyrighted by Book News, Inc., Portland, OR.

Edmund Husserl, founder of the phenomenological movement, is usually read as an idealist in his metaphysics and an instrumentalist in his philosophy of science. In _Nature’s Suit_, Lee Hardy argues that both views represent a serious misreading of Husserl’s texts. Drawing upon the full range of Husserl’s major published works together with material from Husserl’s unpublished manuscripts, Hardy develops a consistent interpretation of Husserl’s conception of logic as a theory of science, his phenomenological account of truth and rationality, his ontology (...) of the physical thing and mathematical objectivity, his account of the process of idealization in the physical sciences, and his approach to the phenomenological clarification and critique of scientific knowledge. Offering a jargon-free explanation of the basic principles of Husserl’s phenomenology, _Nature’s Suit_ provides an excellent introduction to the philosophy of Edmund Husserl as well as a focused examination of his potential contributions to the philosophy of science. While the majority of research on Husserl’s philosophy of the sciences focuses on the critique of science in his late work, _The Crisis of European Sciences_, Lee Hardy covers the entire breadth of Husserl’s reflections on science in a systematic fashion, contextualizing Husserl’s phenomenological critique to demonstrate that it is entirely compatible with the theoretical dimensions of contemporary science. (shrink)

In Being and Time Heidegger gives an account of the distinctive features of human existence, in an attempt to answer the question of the meaning of being. He finds that underlying all of these features is what he calls 'original time'. In this clear and straightforward introduction to the text, Paul Gorner takes the reader through the work, examining its detail and explaining the sometimes difficult language which Heidegger uses. The topics which he covers include being-in-the-world, being-with, thrownness and projection, (...) truth, authenticity, time and being, and historicity. His book makes Being and Time accessible to students in a way that conveys the essence of Heidegger's project and remains true to what is distinctive about his thinking. (shrink)

Self, others and nature (environment) have been suggested over numerous decades and in various places as a way of understanding experience in outdoor education. These three elements and the relations between them appear to cover it all. But is this really the final word on understanding experience? In this paper I explore two emphases within experience expressed by Peirce that offer differing ways of understanding experience: in one emphasis self, others and nature are submerged and not discerned; in the other (...) they appear as the three familiar and related elements. The first emphasis is phenomenological and focused on a simple whole; the other is pragmatic and concerned with a total whole (elements in a totality). The key distinction here is that between something simple (one-fold) and something total (manifold). For Heidegger the difference between these is the ontological difference, where the two differing emphases are be-ing (verb) and beings (noun); or, expressed in another way, phenomenological thinking and calculative thinking. For Dewey these two emphases are revealed as aesthetic and reflective experience, both connected via inquiry. Awareness of this difference and connection suggests that issues involving self, others and nature as elements emerge from and return to the aesthetic ways of being (or occupations) that we build through our programme design and conduct. Relations between self, others and nature are submerged within these ways of being, highlighting how our programme design and conduct does not merely concern activities (including reflective activities), but involves building ways of being. (shrink)