In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...) (2007), I argue, contra James Young (2001), that those artworks can yield experiential knowledge. In the third place, I argue that those artworks also possess probatory value. Finally, I maintain that those artworks can be valuable instruments for the education of the emotions. (shrink)

This study aimed to trace the 2015 to 2019 MAME graduates in the College of Teacher Education for Graduate Studies of the University of Northern Philippines in terms of their personal profile, their work-related profile before and after taking their master’s degree, reasons of taking up the program, competency level before and after taking the program, appraisal of the most useful courses offered in the program, evaluation on the contribution of the program to their personal and professional growth and (...) assessment on the features of the program and suggestions of how to improve the program. The researcher utilized mixed method of research. The subjects were the MAME graduates, and a questionnaire and open-ended questions were sent to them thru various online flat forms. Based on the findings of the study, the following conclusions are derived: pursuing graduate studies chooses no sex, civil status or age as long as there is a will to improve one's self; students have math- related educational background and finished the program within the prescribed number of years; having master’s degree could contribute greatly in landing a permanent teaching job in public schools; professional and personal growth and development is the strongest drive to pursue advance education; the program offers subjects that are useful which enhanced the teaching competencies of the graduates and consequently contribute to the holistic development of the graduates; and that there are areas needing improvement in the MAME program. (shrink)

Like many 19th c. thinkers, Kierkegaard embraces a cognitivist view of art. He thinks works of art matter because they can teach us in important ways. This chapter defends two striking features of Kierkegaard’s version of this theory. First, works of art do not teach “directly” by telling us truths and offering us evidence. Instead, they educate us “indirect-ly” by helping us make our own discoveries. Second, the fact that art does not teach in a straightforward manner is no defect. (...) On the contrary, it is precisely because art teaches indirectly that it teaches better than philosophy and science do. (shrink)

Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of (...) the museum. His performance work, "Hockey Seen: A Nightmare in Three Periods and Sudden Death embodies his aesthetic theories. (shrink)

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

Beginning from Hegel's notion of ethical life (Sittlichkeit) as a mode of consciousness governed by the norms of a historical community, this essay examines the role of education in shaping contemporary communities of autonomous people. It does so by defending a version of the idea that an educator has, among her other tasks, the role of helping her students appreciate the values that are shared across her community. In the course of the examination I relate this idea to trends (...) in the European Enlightenment, and I draw on research concerning political polarization in Europe and North America today and its impact on the academy. In the process I argue that the modern university educator has the task of cultivating in her students an attitude of critical inquiry whose results are not coerced by the social conditions under which that inquiry takes place, and I offer some pedagogical proposals for the university educator facing the situation we are today. (shrink)

English Abstract In Art as Experience, John Dewey decried the estrangement of art from lived human experience, both by artificial conceptual walls and the physical walls that secluded art within museums. Instead he argued that making and enjoying art are crucial organic functions that sustain communities and integrate individuals within their environments. In the 1920’s Diego Rivera became one of the luminaries of the Mexican muralist movement by creating frescoes that were rooted in Mexican life, both in their subject matter (...) and public location. Rivera and the other artists working within the government cultural program guided by José Vasconcelos created murals that boldly expressed the new values of democracy, peaceful revolution, racial equality and cultural pride. This essay explores the deep resonance between Rivera’s most prominent murals from this period and Dewey’s argument that art is a refined and integral feature of human experience. In particular, this essay will examine the great extent to which these men independently came to the common understanding that for people to thrive and grow they need to create and experience art that grows out of and remains rooted in their culture. Without claiming that either thinker influenced the other, this essay argues that their works mutually inform and enrich each other. Both men sought to free art from the museum, but where Dewey urged us tear down the walls that separated art from lived experience, Rivera transformed walls themselves into murals that unified and educated the people of Mexico and restored their culture. (shrink)

Higher educational Institutions aim to produce quality graduates. They want their graduates to manifest better skills in their jobs. Thus, this research aimed to gather feedback from employers about the CTEAS alumni. This sequential explanatory research explored the satisfaction of 100 employers with the manifested skills of the College of Teacher Education, Arts, and Sciences (CTEAS) alumni. Through Google Forms, the employers rated the manifested skills of the CTEAS alumni. Based on the results, employers have a high level (...) of satisfaction in terms of the skills of the alumni. They were very satisfied with the manifested foundation, enterprise, technical and knowledge, adaptive, teamwork, employability, and managerial skills. Thus, to sustain in producing fully equipped graduates, the department needs to hone further the foundation and technical and knowledge skills of their graduates. (shrink)

Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, (...) the formalist, and the postmodernist – translate into respective ways of designing and implementing experiential aesthetics-based activities. Containing relevant examples of interventions used in classes, it analyzes the ways in which the combination of different aesthetic approaches can support varied, multifaceted, multimodal and balanced teaching situations in school. (shrink)

The major stages of development of cosmic pedagogy have been researched. Based on the achievements of the modern neurosciences as well as of psychology, cosmology, and philosophy, the authors provide their reasoning for the cosmic education and its outlooks for the educational systems of the world. Through the studies of how important human mind is for the Earth and the cosmos and by researching the evolution of human mind within the structure of the Universe, the authors create a more (...) advanced scientific and philosophic basis for the cosmic education where the subject is a comprehensive process of formation and directed progress of both an individual mind and a conglomerate of minds called the "psychospace". The cosmic education researches the permanent progress of the intelligent matter of the Earth. The purpose of the cosmic education has been determined as formation of a planetary and cosmic personality. According to the authors, a planetary and cosmic personality is a harmony of mind, soul, and body, and such harmony is directed to usethe internal creative potential of mind to the benefit of the intelligent matter of the entire Earthand the cosmos. The properties of such a planetary and cosmic personality are being improved continuously; they are a sample (the ideal) of the cosmic pedagogy and the image of a human being of the future. Through the usage of the entire potential and art of upbringing and educating, the cosmic pedagogy is called to embody the major properties of the image of a human being of the future in the new generations of minds and to form a planetary and cosmic personalitycapable of self-actualization to the benefit of the permanent progress of the intelligent matter. (shrink)

Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add in (...) this paper the practical projection of these and other methodological theories on people’s training from Greek classical times. My hypothesis is that liberal arts was the basic syllabus in Western -and westernized- educaion for more than a millennium in such a way that results of their training precisely involved to mixing methods. In return, to understand the liberal arts in the light of mixing methods shows new aspects of their historical interest. I study the theoretical basis of this syllabus from Cicero to Alcuin. More important for future research, I conclude that Alcuin’s thesis about the correspondence between the gifts of the Holy Spiritu and the seven liberal arts can be extended to the Aristotelian dianoethics habits and to Dilthey’s 20th-century sciences of mind. (shrink)

Christian B. Miller has noted a “realism challenge” for virtue ethicists to provide an account of how the character gap between virtuous agents and non-virtuous agents can be bridged. This is precisely one of Han Feizi’s key criticisms against Confucian virtue ethics, as Eric L. Hutton argues, which also cuts across the Aristotelian one: appealing to virtuous agents as ethical models provides the wrong kind of guidance for the development of virtues. Hutton, however, without going into detail, notes that the (...) notion of rituals in the Confucian tradition may be able to sidestep Han Feizi’s criticism. In this essay, I wish to explore not only how the notion of rituals, alongside its corollaries in Xunzi’s Confucian program for ethical cultivation, indeed addresses Han Feizi’s criticism, but also observe that Aristotle’s tragic poetry plays functionally equivalent roles in his own understanding of ethical upbringing. I will begin by considering Han Feizi’s critique of ethical cultivation in virtue ethics as such and how it poses a specific problem for the acquisition of the ‘constitutive reasoning’ shared by Aristotle and Xunzi. I will then briefly note that this problem trades on the synthetic structure of human nature found in both Aristotle and Xunzi (the rational/irrational parts of the soul and the heartmind/five faculties), which grounds the way they understand ethical action and agency. Finally, I will suggest how both Aristotle and Xunzi understand the role of the arts in their extensive programme of ethical cultivation, allowing them to respond to Han Feizi’s attack as too narrow a construal of their respective ethical projects. It is hoped that, through this, we may gain a better sense of how more recent virtue ethicists may similarly draw on aesthetic resources for ethical development. (shrink)

This article brings out ethical aspects arising in Plato’s classical critique of narrative and imitative art in The Republic, especially when it comes to reading stories about the past. Socrates’s and Glaucon’s most important suggestion, I argue, is to cultivate an ethical consciousness where one ought to see the distinctions between how the real and the imaginary in narratives are to be conceived, and what that insight ethically demands of the reader. Taken as an ethical insight for the reader when (...) engaging in narrative understanding, this should be to resist the temptation to think that past suffering and misery as told in a story can be read analogously to narratives having a tragic plot. The article clarifies the meaning of Plato’s critique through the ideas of Simone Weil, Emmanuel Lévinas and Iris Murdoch. These existential moral philosophers work towards having an ethical consciousness in one’s personal relationship with stories of our lifeworld. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that (...) emotional competency is bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of (...) philosophy through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Heidegger, Art, and Postmodernity by Iain D. ThomsonIrene McMullinIain D. Thomson. Heidegger, Art, and Postmodernity. Cambridge-New York: Cambridge University Press, 2011. Pp. xix + 245. Paper, $27.99.Iain Thomson’s Heidegger, Art, and Postmodernity is an exceptional piece of Heidegger scholarship, providing detailed, informative analysis while remaining highly readable.Thomson begins by reprising the argument from his earlier Heidegger on Ontotheology: Technology and the Politics of Education (Cambridge, 2005), namely, (...) that the concept of ontotheology is key to understanding Heidegger’s thought. Ontotheologies comprehend “the intelligible order in terms of both its innermost core [ontology] and its outermost form or ultimate expression [theology]” (10). Thomson examines Heidegger’s claim that these understandings of reality change over time, a history of being comprised of distinct metaphysical “epochs” of intelligibility. Thomson recounts Heidegger’s project as an attempt to overcome ontotheology, particularly its modern and late-modern forms, in which entities appear solely as objects for control or resources for optimization.Doing so requires cultivating a plural realism whereby entities are recognized as richer in intrinsic meaning than we can capture. Thomson shows that Heidegger’s analysis of [End Page 324] art—particularly Van Gogh’s “A Pair of Shoes”—is aimed at demonstrating how art over-flows conceptual boundaries and thereby reveals this plural givenness of meaning. With startling originality, Thomson both explains the use of the three artworks in “Origin of the Work of Art” in terms of Heidegger’s history of being and refutes Shapiro’s famous criticism, arguing that Heidegger is not suggesting that the painting simply represents a peasant woman’s shoes. Rather, it represents both the shoes and a plurality of other possible meaning gestalts suggested by the umbra of “nothingness” that surrounds the shoes—the unformed textures and colors of the background—one of which is the figure of a woman.The work prompts a gestalt shift from shoes to woman, encouraging us to recognize possibilities of meaning in the inchoate forms surrounding the shoes, and thus (Heidegger hopes) realize the inexhaustibility of meaning and the structure of intelligibility itself: namely, the ontological tension between earth and world, revealing and concealing. Any representation is only one of the many conceptual possibilities present, and art helps us accomplish a postmodern “active receptivity” that responds adequately to the inexhaustibility of being as such.The latter half of Thomson’s book engages in “applied Heidegger”: the examination of particular works to demonstrate the fruitfulness of understanding Heidegger in this way. By analyzing U2’s Achtung Baby, Moore’s Watchmen comic series, and (in a particularly informative chapter) Heidegger’s Contributions to Philosophy qua philosophical fugue, Thomson is able to pursue the implications of what “postmodernity” means for Heidegger and why it should be considered appealing.Thomson’s thought-provoking and informative book should prompt a great deal of discussion. In particular, one can ask whether such a “postmodern” condition represents what Thomson and Heidegger hope it does. Thomson suggests throughout that escaping late-modern optimization and control narratives will encourage us “to approach all things with care, humility, patience, gratitude, and perhaps... awe, reverence, and love” (212). But why should we suppose that recognizing meaning’s excessiveness and multiplicity should produce such positive responses? Is it not equally plausible that it would prompt a kind of desiccated ennui, an inability to care or commit that is rooted in the sense that there is no right answer, no right way to be? One wonders if living with such recognition is even possible, considering the view espoused throughout that intelligibility depends on tension between revealing and concealing. What is the proper place for the view that no framework of intelligibility is right or adequate, but merely captures one facet of possible meaning? Is this compatible with existentialism’s characterization of humanity in terms of the need to commit to projects that delimit a normative horizon through which the world can show up as intelligible?Further, though it seems clear that cultivating a poetic responsivity to the given plurality of meaning will help overcome Western nihilism—i.e. the view that there is no inherent meaning—it is not clear that it will move us beyond... (shrink)

In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism. Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven through contemporary (...) art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...) teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation (...) of the arts will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation. (shrink)

This study aims to find out the factors that hinder students in learning Integrated Art Education. A descriptive research design was utilized in the conduct of the study. The researcher prepared a questionnaire with 15 closed-ended- questions that could be answered objectively. The study discovered that the students would learn more when they feel that they belong to a certain group. Interests in a subject also matter, the more you are interested in a particular subject, the more you will (...) learn the material. Parent support marks an impact on the student's interest in learning Arts. Therefore, personal interest in a subject must be given attention and managed properly. Parent's support also plays a vital role in reinforcing the students on what to pursue in order to maintain their motivation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory (...) of projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had (...) said similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Disgust has been a perennial feature of art from medieval visions of hell to postmodern travesties. The purpose of this chapter is to chart various ways in which disgust functions in artworks both in terms of content and style, canvassing cases in which the content and/or style is literally disgusting in contrast to cases where the disgust serves to characterize the content, often for moral or political or broader cultural purposes.

This study resumes the discussion undertaken by Ulpiano Bezerra de Menezes, historian, archaeologist and museologist at the University of São Paulo, the first to “decolonize the history of Art in the Americas”. At the same time, this resumption is in charge of paying homage to this researcher who found the mistakes and gaps left by European scholars who were at the service of Eurocentric colonialism and its Eurocentric culture. However, the central objective of this text is to contribute to this (...) process of decolonization, expanding the discussion that began in the 1980s. To this end, here, the chapter that opens the work História geral da arte no Brasil, edited by Walter Zanini, whose title is Art in the pre-colonial period, and which completes decades. (shrink)

Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. -/- Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or “picture”), the silver screen, (...) photoplays, the cinema, picture shows, flicks — and commonly movies. (shrink)

The idea that education should equip people to lead flourishing lives and help others to do so is now becoming salient in policy-making circles. Philosophy of education can help here by clarifying what flourishing consists in. This essay examines one aspect of this. It rejects the view that well-being goods are derivable from human nature, as in the theories of Howard Gardner and Edmond Holmes. It locates them, rather, as cultural products, but not culturally-relative ones, drawing attention to (...) the proliferating forms they have taken over the past three or four centuries. It looks to aesthetics and art criticism as a guide to a philosophical treatment of well-being goods more generally. It also takes off from aesthetics and art criticism in seeking to identify reliable authorities on the flourishing life. On this, it rejects elitist conceptions in favour of a more democratic model, emphasising its importance in education for citizenship. (shrink)

This thesis contends that the possession of a sense of humour would contribute considerably to the quality of human life. It is an exploration and discussion of some of the difficulties involved in justifying the development of humour in terms of a philosophy of education. In light of developments in the digital age with consequent changes in science, technology and society, the educated person of the future will have to be less concerned with the accumulated knowledge of the past (...) than with the development and interplay of social and natural environments. Such a person will need to have, more than ever, a sense of what is truly real and what is truly valuable in human life. If the primary purpose of education is the preparation of students for their future lives, educators are now faced with some challenging problems. Apart from the high social value of laughter, there is a recognized relationship between humour and intelligence. Knowing that the two are related proves to be a key factor in understanding the learning process and assuring that the development of a sense of humour in education is worthy of consideration. (shrink)

For centuries, the major story of enlightenment was that education is and should be the cornerstone of our society. We try to educate people to make them respectable members of society, something which we inherently relate to being "better persons", firmly believing that education makes humans less prone to evil. Today, modern research seems to validate that premise: statistics verify that more education results to less crime. But is this picture accurate and does this mean anything regarding (...) morality per se? This paper tries to examine the facts with a more critical eye and determine whether education is indeed a source of ethics or not. The results of the analysis show that what we understand as education is not only unrelated to ethics but can also be a factor resulting in the degradation of morality in humans. Rousseau's arguments against science and arts are re-enforced with arguments stemming from other great philosophers and from modern experience itself. Using modern statistical analysis regarding the correlation of crime and education and through the examination of the modern regression in ethical issues, it becomes evident that education cannot and should not be a source of ethics. Knowing what is ethical is not as important as living an ethical life. Pharisees were the first to be denied the entrance to the kingdom of God. As Oscar Wilde once said, "Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught". (shrink)

Part of John Andrew Rice’s legacy, besides being a founder of Black Mountain College, is his vision of what a small liberal arts college curriculum should be. This vision helps shed light on some possible avenues by which to answer the following important questions: What implications do John Dewey’s progressive educational ideas have for experimenting with curricular design at small colleges? Does the college teacher’s struggle for improvement or growth depend on her having a belief that there is an (...) ideal liberal arts college curriculum? Probably the best known of such ready-made curricula is the Great Books Program, which employs a list of classic primary-source texts as the entry point into highly engaged dialogue, scholarship and learning guided by a teacher or tutor. In order to answer these questions, the paper turns to the historical debate between John Dewey and Robert Maynard Hutchins over the relative merits of progressive educational ideals and the Great Books approach. Most who have commented on this debate emphasize the differences between Dewey and Hutchins’ views.[ii] While Dewey emphasized learning through practical problem solving, in a dynamic mix of subject matter and method, Hutchins stressed exposure to and discussion of at least one-hundred primary texts in the Western canon, from Plato and Aristotle to Emerson and J.S. Mill. Hutchins resisted what he saw as the progressive educator’s push to transform the proper end of educating the whole person into training her for a particular vocation. In response, Dewey criticized Hutchins’ insistence that there existed a “hierarchy of truths” and that higher learning should remain aloof to the concerns of everyday life. Few commentators, however, mention the significant areas of agreement between the pedagogical approaches of Dewey and Hutchins, as well as other Great Books scholars. Since Rice praised the ideas of at least one Great Books proponent (Stringfellow Barr of St. John’s College), a more positive reconstruction of the Dewey-Hutchins exchange helps us to see how Dewey’s ideas informed Rice’s vision for the experimental college at Black Mountain—or so I argue.[iii]. (shrink)

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social imagination that is (...) essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

Appearing for the first time in English, Art and the Working Class is the work of Alexander Bogdanov, a revolutionary polymath and co-founder, with Vladimir Lenin, of the Bolshevik faction of the Russian Social Democratic Labor Party. Bogdanov was a strong proponent of the arts, co-founding the Proletarian Culture (Proletkult) organization to provide political and artistic education to workers. In this book, Bogdanov discusses the origins of art, its class characteristics, and how it might be created within a (...) revolutionary socialist context. (shrink)

The article presents the results of a narrative study, in the framework of which the concepts of decency and honesty in the academic environment are considered. Fifteen teachers from six teacher training colleges in Israel were selected for the study. The main goal of the study: to determine how decency and honesty are interpreted by teachers, who combine administrative work with teaching, and how these concepts are defined by teachers who are exclusively engaged in teaching students. The results of the (...) study showed how important it is to be an honest teacher. Especially when it comes to educating the future generation of teachers. (shrink)

From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude (...) the world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century. -/- “This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception -/- “This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914 -/- “It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting -/- “A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernism. (shrink)

In this article, I first show in what way Augustine's 'De doctrina Christiana' actually concerns liberal education, or at least includes it within its scope. Second, I articulate the new 'modus' of education, its new “mode” or “measure,” presented in 'De doctrina'. Third, I exemplify the modification of education by briefly considering Augustine’s treatment of rhetoric in Book IV of 'De doctrina'. Fourth and finally, I conclude with general remarks that attempt to situate the sort of (...) class='Hi'>education of which Augustine speaks in 'De doctrina' among some current alternatives with which we are familiar. (shrink)

Education is crucial to the overall development of all communities. Since the early days of Greek philosophy, philosophers have made significant contributions to the advancement of education for both individuals and the states. Greek philosophers, notably Plato, emphasized the importance and relevance of education for his conceptual ideal state. His educational ideas were rooted in his philosophy, notably idealism, and it continues to have a great effect, particularly on education. Idealism focuses on ideas and believes that (...) genuine knowledge can be found in the ideas' world. His age-based educational system advocates both public education and equal access. The purpose of this paper is to revisit his educational ideas in depth and have a better understanding of them in terms of contemporary education. This paper adopts an analytical strategy to achieve its purposes, and it maintains, based on secondary evidence, that the features of the educational ideas of Plato are truly pertinent and might be applied to contemporary education after appropriate integration. (shrink)

The American system of education makes important and sometimes unjustified assumptions that were questioned and criticized nearly a hundred years ago by author and educational theorist Albert Jay Nock. This essay discusses Nock’s theory of American education and finds that certain of these assumptions stand greatly in need of the support of evidence.

Indonesia has recently faced problems in various aspects of life. The results of a social media survey in Indonesia in early 2021 that the biggest threat to the Pancasila ideology is communism and other western ideologies. Communism has a dark history in the life of the Indonesian people. It shows the problem of thinking and philosophical views of the Indonesian people. This research is textbook research that aims to analyze philosophy books, namely mathematics education philosophy textbooks written with a (...) Western cultural background by Paul Ernest. This book was chosen as the object of analysis because this book is the essential reference textbook for the philosophy of mathematics education in universities providing prospective mathematics teachers in Indonesia. The research results show that this book contributes to developing Western thoughts that are contrary to Pancasila. It needs to eliminate the most critical thing in this book. It is the atheistic and individualistic philosophy underlying the ideology of mathematics education because this is not in line with the theistic collectivistic Pancasila. Therefore, this research recommends developing a textbook on the philosophy of mathematics education. It should be under the Pancasila ideology or written based on the Pancasila ideology. (shrink)

In this essay, David Hildebrand connects Democracy and Education to Dewey's wider corpus. Hildebrand argues that Democracy and Education's central objective is to offer a practical and philosophical answer to the question, What is needed to live a meaningful life, and how can education contribute? He argues, further, that this work is still plausible as “summing up” Dewey's overall philosophy due to its focus upon “experience” and “situation,” crucial concepts connecting Dewey's philosophical ideas to one another, to (...) education, and to democracy. He opens the essay with a brief synoptic analysis of Democracy and Education's major philosophical ideas, moves on to sections devoted to experience and situation, and then offers a brief conclusion. Some mention is made throughout about the surprisingly significant role art and aesthetics can play in education. (shrink)

Focuses on the relationship between Igwebuike philosophy and the advancing of girl-child education.

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge (...) through visual, associative, and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

This research primarily identified the current employment profile of the graduates of Master of Arts in Filipino of Polytechnic University of the Philippines (2017-2020). Specifically, it sought to determine the progress on their professional status and the relevance of institutional and academic factors to it. This descriptive study utilized purposive sampling and involved an iterative process of frequency distribution, percentage, rank, and average weighted mean. This study found out that the majority of the respondents: are currently employed before and (...) after they took up MAF; are permanent/regular teachers in public secondary schools; have received job promotions and salary increase after graduating; and have acquired several professional skills and values relevant to their profession. The study generally concludes that the program has succeeded in providing quality education to its respondents as analyzed from their positive feedbacks. The researchers, however, recommend improving areas relative to influencing graduates to conduct and publish studies in refereed journals, be active members of discipline-related organizations, and attend several conferences, workshops, seminars, etc. Keywords: Curriculum, Master of Arts in Filipino, Polytechnic University of the Philippines, Professional Development, Tracer Study. (shrink)

The relationship between space and human occurs through the actions performed with the body. The abstraction study as an exploration of the body is one of the significant practices for first-year design students. However, there are not enough investigations for design students regarding body, space and basic design principles. This paper aims to explore the potentiality and limitations of the body-abstraction process by comparing the impact of two different educational models on students' perception and improvement. The applied methodology includes comparing (...) two design processes of the basic design course depending on parameters: Given example, source of the video, type of movement, the number of the selected-used scenes, mode of sketching, the method for production, requested outcome, the scale of the study, the material of models and critique of the video. The results present that the activation of the body through mental practice, drawing and modelling stages is critical to understand its abstract and spatial capabilities. The realisation of the potentials in the relationship between body and abstraction in spatial perception would enable us to create an advanced design process addressing more original concepts. (shrink)

This paper seeks to initiate a theory of “imaginative dialogues” by articulating four dialogical principles that enable such a dialogue to occur. It is part of a larger project that takes the Socratic dialogue, a widely utilized conversation technique in philosophy education, as a starting point and aims to reinterpret it by shifting emphasis to the pre-reflective, pre-linguistic, and multimodal aspects of dialogues, involving both their verbal and embodied dimensions. To integrate the verbal dimensions of a dialogue with its (...) more elusive embodied dimensions, the paper will examine the notion ‘dialogue’ from the perspective of two different strategies. The first strategy chiefly focuses on the dialogic encounter. The ‘in-between’ of this dialogic encounter enables something to emerge that transcends the individual perspective of the speakers involved. The second strategy is primarily concerned with internal differentiation. The minor differences that constitute this internal differentiation, differentiate a dialogue from within. These strategies are not mutually exclusive but indicate a variation in starting point and orientation. This paper proposes to combine these two strategies by linking accounts of the productive moments in verbal dialogues to an account of the imaginative potential of embodied dialogues. This will enable the articulation of four dialogical principles (derived from Lev Yakubinsky, Oswald Ducrot, Martin Buber, and Gottfried Wilhelm Leibniz) through which an imaginative dialogue can proceed. (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, the (...) tradition of Enlightenment that, committed to upholding and developing the civic humanism of the Renaissance, strove for liberty, understood as democratic self-governance. The central place the liberal arts had in upholding this liberty is shown. Inspired by the Ancient Greek notion of paideia, the liberal arts, which originated in republican Rome, was the form of education required designed for free people, in opposition to the specialist education appropriate for slaves, to inspire them to maintain their liberty and enable them to govern themselves. While not always upholding this ideal, it is argued in this paper that the liberal arts always kept alive this quest for liberty, bequeathing this quest to the Renaissance philosophers and to the proponents of the Radical Enlightenment. With managerialism and the undermining of democracy, such education and the questioning, creative people it produced, are now seen as a threat to the new global corporatocracy who, to achieve cultural hegemony, have coöpted university managers and academics to impose their agenda to cripple the liberal arts. Their goal, never fully articulated as such but successfully prosecuted, is a dumbed-down population. (shrink)