In lieu of an abstract, here is a brief excerpt of the content:Complexities of Aesthetic Experience:Response to JohnstonRichard J. ShustermanI am grateful for this opportunity to clarify my views on aesthetic experience and somaesthetics that Scott Johnston discusses. Combining two very vague and contested ideas ("experience" and "the aesthetic"), the concept of aesthetic experience is an extremely ambiguous notion some of whose principal different conceptions I have carefully tried to outline.1 It is therefore rash for Johnston to presume that what (...) I mean by aesthetic experience is simply "the [Deweyan] sort of experience that connotes an immediate, qualitative whole" that is "consummatory." Though I deeply appreciate John Dewey's view, I have also criticized it on several counts. I insist, for example, on the existence and value of aesthetic experiences of fragmentation and rupture that have neither the unity of coherence nor that of completion that Dewey demands. In fact, as I have often pointed out, part of my interest in rap music was connected to its aesthetic of fragmentation.2Dewey and I both affirm (in sometimes different ways) some sort of primacy of the immediate in aesthetic experience. But primacy and immediacy are polysemic notions whose meaning is very context-dependent and shifting. Insufficient attention to these multiple meanings and contexts seems to confuse some of Johnston's discussion and leads to his puzzlement about how I can emphasize both immediacy and reflection and whether I consistently accord primacy to the former. The first step toward clarifying matters is to note that affirming immediacy in aesthetic experience is not to deny two important dimensions in which aesthetic experience is importantly mediated. First, aesthetic experiences are rarely, if ever, immediate in the sense of being instantaneous; they require some time of processing. Even with allegedly nontemporal arts such as painting (and even with paintings that do not demand complex decoding), there is, in aesthetic experience, a process of focusing on the work, of reacting to it, and of deepening appreciation or absorption. Second, at least in the arts, an aesthetic experience should be mediated by some prior (typically extensive) training in what is necessary to understand and appreciate such art. My aesthetic experience of French poetry required a sustained training in French language, literature, and culture, a training that required reflective thinking.However, despite these crucial mediations, aesthetic experience is usefully characterized as distinctively immediate in that its meanings and values are perceived and savored directly in our experience of the work rather than being only revealed, understood, or appreciated at a later time. I appreciate [End Page 109] the poetry of Baudelaire as I hear or read it, and not only after it is explained to me or after I subsequently reflect on or recollect this poetic experience. Aesthetic experience is immediate in the sense of being immediately enjoyed and valued rather than being an experience in which gratification and appreciation is deferred to a later time. An aesthetic experience of climbing a mountain (which obviously takes time and requires some training) means enjoying the climb while one is climbing, not when one's enjoyment is postponed till one has reached the summit and enjoys its view. When I emphasize the immediacy of aesthetic experience, I am celebrating this character of direct, undeferred, imminent appreciation or sense of value, which is what makes such experience enjoyed or valued for its own sake.3 Such immediate enjoyment is all that is usefully meant by saying that aesthetic experience is appreciated intrinsically or as an end in itself rather than a mere means to some further end, even though there are obviously many good ends to which aesthetic experience can usefully serve as means.This sense of immediacy — of direct, undeferred appreciation of meaning, enjoyment, and value — does not deny a role for reflection. Not only can prior reflection prepare the way for immediate enjoyment but reflection itself offers its own aesthetic pleasures of immediacy. We can enjoy the process of reasoning, speculating, interpreting in a direct or immediate way without postponing our satisfaction to a subsequent appreciation of the results of our reflective process, that is, when we (meta-)reflect, at a later time, on what that initial reflective experience has engendered. Moreover, subsequent reflection on an... (shrink)

After noting some conditions of historical and contemporary context that favor a dialogue between pragmatism and East‐Asian thought, which could help generate a new international philosophical perspective, this essay focuses on several themes that pragmatism shares with classical Chinese philosophy. Among the interrelated themes explored are the primacy of practice, the emphasis on pluralism, context, and flux, a recognition of fallibilism, an appreciation of the powers of art for individual, social, and political reconstruction, the pursuit of perfectionist self‐cultivation in the (...) art of living, and the crucial role of embodiment in this melioristic pursuit. The last section defends this somaesthetic emphasis against some likely criticisms and closes with an example of how occidental and East‐Asian somatic thinking can be productively integrated. (shrink)

Plotinus' recognises the possibility of conflict between self-referential aims and the good of the kosmos. His solution resembles closely one attributed sometimes to the Stoics. The inner reformation Plotinus proposes will yield a detached understanding of the whole universe. This view is accompanied by a realisation that one's happiness lies in functioning as a part of the whole and in contributing to the perfection of the universe. Other-regard cannot, therefore, be seen as altogether missing from neoplatonic ethics. What gives Plotinus' (...) ethics an agent-centred spin is its emphasis on how this state can be attained. Promoting the self's true well-being by an inward turn is the only means to an understanding of what is good simpliciter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 99-108 [Access article in PDF] Reflections on Richard Shusterman's Dewey James Scott Johnston Presumably, when Richard Shusterman talks of an aesthetic experience, he has in mind the sort of experience that connotes an immediate, qualitative whole John Dewey calls "consummatory" in Art as Experience. Problematically though, with Dewey, he has the urge to tell us what is primary in an experience. Making (...) liberal use of Dewey's own statements from Art as Experience Shusterman tells us it is just the "memorable and ultimately satisfying episode of living, one that stands out from the humdrum flow of life as "an experience by its "internal integration and fulfillment" reaching through a developing organization of meanings and energies which affords a "satisfying emotional quality" of some sort.1 Also, "For there seems, after all, to be something autonomous about art's value, something about its own good for which we pursue them [sic] as ends in themselves rather than means to other goods in other practices. That something is an aesthetic experience. For the immediate, absorbing satisfaction of such experience makes it incontestably an end in itself" (PA, 46-47).Two conclusions present themselves. The first is that an aesthetic experience is one immediately had. The second is that what counts as an aesthetic experience, what is primary, is satisfaction; the quality that is immediately present is an emotional one; felt not cognized. Immediacy is emphasized over reflection in an aesthetic experience; the consummatory experience par excellence, according to both Shusterman and Dewey, and this seems to conflict with an earlier claim that immediacy and reflection are accorded equal measure in the having of an experience.2We may conclude at this point that what is immediately felt carries the weight, so to speak, of an aesthetic experience. It remains for reflection to organize, classify, and relate these experiences to each other in such a way that meaning develops. It functions in an ex post facto manner to relate upcoming experiences to each other. As such, reflection is accorded importance, [End Page 99] though not priority, in an aesthetic experience. We might say that it functions, to use an analytic metaphor, as a second-order activity, with immediacy granted first-order status.Yet, there is evidence to the contrary in Shusterman: evidence that suggests that he does not want to claim that immediacy is primary in an aesthetic experience. This evidence comes largely from an article written to address Richard Rorty's reading of Dewey's notion of experience, entitled, "Dewey on Experience: Foundation or Reconstruction?" Following on Rorty's criticism of Dewey's tendency to accord ontological status to generic traits of existence such as continuity, Shusterman laments that, "For a non-foundational philosopher like Dewey, this account of immediate quality as the underlying guide of all thought and discourse seems very much out of character. Had he simply argued that immediate quality can sometimes effectively ground or direct our thinking, his position would be convincing. Unfortunately, however, such quality is affirmed as what determines, in every particular situation, the coherence of our thinking, the structure of discourse, and the measure of adequacy in judgment."3 Shusterman's final analysis of Dewey's turn to immediate qualities is that, "Dewey's mistake is not in emphasizing the unifying quality of experience [which he does], but only in positing it as an antecedent foundational fact rather than regarding it as an end and means of reconstruction" (DE, 138). What Shusterman beneficially distills from Dewey's strong talk of immediate qualities is that, "Dewey's prime purpose was the aesthetic and practical one of improving experience by making it the focus of our inquiry, of enriching and harmonizing our experience, for example, by affirming and enhancing the continuity between soma and psyche, between nondiscursive experience and conscious thought" and that "nondiscursive background experience influences our conscious thought" (DE, 139, 138).In sum, Shusterman takes Dewey to task for suggesting that immediate qualities are foundational and necessary (we might say "given") in the having of an experience, rather than... (shrink)

This paper argues that the central philosophical movement in the complex history of Buddhism that originated with Siddhartha Gautama, the Buddha and carried on by Nāgārjuna (among other later Buddhist philosophers) shares some common themes with the pragmatic philosophy of John Dewey. These themes are the rejection of traditional metaphysics as definitive of philosophy, a return to the correct understanding of the nature of experience, and a particular view about the conduct and nature of philosophy. Dewey is used to illuminate (...) such controversial problems in the Buddhist tradition as why the Buddha is silent about metaphysical questions, what it means to say that everything is anitya, and how we are to understand Nāgārjuna's key concepts of prattyasamutpāda and únyatá. (shrink)