. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

Thomas S. Kuhn's classic book is now available with a new index.

In England and Wales we have had a National Curriculum since 1988. How can it have survived so long without aims to guide it? This IMPACT pamphlet argues that curriculum planning should begin not with a boxed set of academic subjects of a familiar sort, but with wider considerations of what schools should be for. We first work out a defensible set of wider aims backed by a well-argued rationale. From these we develop sub-aims constituting an aims-based curriculum. Further detail (...) is provided here on one of the most central educational aims, to do with equipping each child to live a flourishing personal and civic life. [A later, more detailed account of an aims-based curriculum is available in Reiss, M and White J <An Aims-based Curriculum: the significance of human flourishing for schools> Institute of Education Press 2013]. (shrink)

John White; On Reconstructing the Concept of Human Potential, Journal of Philosophy of Education, Volume 20, Issue 1, 30 May 2006, Pages 133–142, https://doi.or.