Everyday Aesthetics, radicalizing Dewey’s notion of the continuity between art and experience, aims to find aesthetic qualities in ordinary experience. The problem is that it reduces the aesthetic significance that Dewey attributed to artistic production. Analyzing Dewey’s work and its interpreters, I will demonstrate that the continuity of ordinary experience and art is what lends art its vital and distinctive character. The work of art contributes to developing other ways of seeing and acting in the world, reinforcing (...) life in common, the basis of democracy. (shrink)

In this essay I review John Dewey’s pragmatism from the perspective of environmental social theory. Dewey’s clarification of aesthetics, values, experience, and the natural world are useful to contemporary environmentalism. His work represents a precedent for critical, anti-dualistic social philosophy in the U. S., and usefully clarifies the relationship of humans to the “material world.” Dewey’s conception ofvalues, politics, and experience suggests that these elements may be combined in ways congenial to environmental thought.

John Dewey’s philosophical pragmatism offers a reformatory approach to the arduous relationship between natural sciences and humanities. The crucial issue, which Dewey sets himself to resolve, is the pre-Darwinian influence of classical philosophy upon various scholarly practices. Ancient background assumptions still today permeate a considerable proportion of academic research and argumentation on both sides of the debate. Even evolutionary accounts appear to be affected. In order to avoid the often implicit, but nonetheless problematic, consequences that ensue from such (...) archaic premises, I examine Dewey’s reappraisal of the concepts of art, science and knowledge. An analysis of these key concepts renders it possible to understand the proper function of aesthetic experience. In this paper, natural constitution of an aesthetic experience, which carries one of the intrinsic relations between art and science, comprises the core of the proposed solution. Furthermore, establishment of an integral aesthetic connection forms a fruitful basis for further bridging of the gap between hard sciences and humanities. (shrink)

In philosophical discourse, vagueness is commonly regarded as an undesirable and problematic aspect of human experience. Such standpoints are not unfounded. However, in this article, I argue that vagueness may in certain instances also possess an instrumental role that supports specific modes of human aspiration, including the artistic and the mathematical. In particular, I investigate the ways in which vagueness not only hinders but also fosters the emergence of an aesthetic quality of experience during the imaginative endeavours of fine art (...) and mathematics. The manner in which the benefit from felt vagueness ties into the formation of artistic and mathematical scenarios helps to illuminate deep and often unnoticed relations between these two domains of human ingenuity. In this article, the overall concept of experience and the particular features of human experience, such as the aesthetic and the vague, are examined in the context of John Dewey’s philosophical pragmatism. In Dewey’s philosophical framework, the human mind and culture are understood as natural phenomena. As such, the Deweyan approach fits the paradigm of a twenty-first century scientific understanding of the inherent ontological unity of all modes of human existence and activity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: There is an abundance of scholarship on John Dewey. Dewey's writings are vast, so scholars try to find the crux that connects their many themes into a distinctive vision for philosophy and life. Many claim that the democratic way of life is the center of Dewey's philosophical vision. Others claim that Dewey's response to Darwin was the impetus for a philosophical experimentalism that could envision a better (...) life by responding to the needs in an age of modern industry. Some claim that the crux is a dynamic and non-mechanistic naturalism that Dewey develops to critically undo the dualisms of tradition, most especially the distinction between nature and culture. There has even been an effort to interpret each of these themes within Dewey's theory about the conditions for aesthetics in life, the life of art within an experience, and an experience of life as art. Arguably, no strategy is more preferable than another because each is plausible. Each plausibly selects a crux that connects the many themes across an array of writings, since Dewey's philosophy is multimodal by design and shuns reductionism for pluralism. Even amidst plurality, through many modes of activity and existence, each of these themes and all of Dewey's writings have a concern for meaning in life and how life is a process of meaning-making. And yet, meaning, for Dewey, is irreducible to verbal or written language and is made by more than propositions, but extends beyond the divide of nature and culture to potentially encompass all of life and life's processes. This expansive conception of meaning has more in common with semiotics, especially those of Charles Sanders Peirce, than any philosophy of language. And yet almost no scholar has sought to semiotically interpret Dewey's philosophy as a whole. Perhaps, though, Dewey's multimodal and pluralistic vision for philosophy and life also has a semiotic crux that intersects with the others in ways that are fundamentally important. There are scholars who have dealt with semiotic themes or insights with implications for semiotics in Dewey's writings. None have sought to semiotically interpret Dewey's philosophy as a whole, or, as a consequence, to chronologically survey Dewey's writings to determine if there is a conceivably Deweyan approach to semiotics that might contrast with or contribute to the more dominant approaches. There is a reason scholars may not have sought a Deweyan approach to semiotics. Dewey did not have an explicit theory of semiotics. There is no attempt to devise a doctrine of signs in Dewey's writings. Never did Dewey try to classify the fundamental types of sign, analyze the relations of signification by which they differ, or methodically explain how the logic of signification works. This contrasts sharply with Charles Sanders Peirce. Peirce has an explicit theory of semiotics that divides the fundamental types of sign into icons, indices, and symbols by their distinct relations of signification that are at work in the logic of inference by the categories. During his second year at Johns Hopkins, Dewey was actually Peirce's student in a class on logic. This already suggests the possibility of influence. Dewey's writings around 1883 even espouse the central thesis of Peirce's semiotics. All signs, however else their significations may differ, are triadic relations for both Peirce and Dewey. Whether and how far Peirce's logic was an influence on Dewey at Johns... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as Occupations:Two Neglected Roots of John Dewey's AestheticsAuthors: Fabio Campeotto (Consejo Nacional de Investigaciones Científicas y Técnicas, CONICET, Univ. Nacional de La Rioja); Juan Manuel Saharrea (CONICET, Universidad Católica de Córdoba-Unidad Asociada al CONICET) and Claudio M. Viale (CONICET, Universidad Católica de Córdoba-Unidad Asociada al CONICET). Campeotto and Saharrea contributed similarly to the development of this work. Language edition: Rita Karina Plascencia, https://www.rkplasencia.com/. This article was made (...) in the frame of two research projects: "Pragmatismo y educación: Fundamentos teóricos y abordajes empíricos," financed by the Universidad Católica de Córdoba (2019–2023); and "Praxis, experimentalismo, aprendizaje y democracia: hacia una reevaluación de la filosofía de la educación contemporánea," PICT 2020 serie A 01539 financed by the Fondo para la Investigación Científica y Tecnológica (FONCyT). Both projects were under the direction of C. M. Viale.undoubtedly, art as experience1 is one of the most important texts by John Dewey, as well as his most systematic approach to aesthetics.2 This book usually appears in the literature as an almost mandatory reading for interpreters of classical pragmatism, and it is praised as an ineludible reference for those interested in aesthetics from a pragmatic point of view. However, this justified centrality tends to invisibilize two important veins of Dewey's thought: the vital role of his fragmentary or piecemeal approach to aesthetics, on one hand, and the relevance of his educational conceptions in relation to aesthetics, on the other.Going beyond the centrality of Art as Experience toward a comprehensive and contemporary view of Dewey's aesthetics entails looking upon three elements of his thought: Firstly, Dewey's works—some of them considered minor and some implicit or sporadic references in canonical texts—depicting the links between education and aesthetics in his philosophy as well as texts that belong to his fragmentary approach to aesthetics. Secondly, his systematic development of aesthetics, mainly in Art as Experience, where Dewey presents his conceptions at length. Thirdly, what we could call a re-evaluated aesthetics, which consists in a contemporary attempt to integrate diverse aspects of his philosophy, trying to overcome some weaknesses in his theoretical developments, especially regarding his dealing with the links between education and [End Page 1] aesthetics. It is necessary to remark that these links were neither adequately addressed by Dewey nor exhaustively examined by the literature, as far as we know. We hold that it is crucial to make them critically explicit, in order to get fruitful contemporary approaches not only to Dewey's aesthetics but also to his pedagogy and philosophy of education.Thus, the core question of this article is the following: How should the educational root of Dewey's aesthetics have worked? Or, more precisely, how should he have explicitly or meticulously conceived aesthetics in relation to his educational developments? We think that two neglected roots of Dewey's writings related to aesthetics can help us to re-evaluate it: what we call its fragmentary approach and Albert C. Barnes's role in it, on one hand, and a coherent articulation among occupation, art teaching, and the overcoming of the distinction between vocational and humanistic education, on the other.To carry out our task, we have divided this article into three parts. In the first (The Genesis of Dewey's Aesthetics: A Re-interpretation), we argue how to interpret the emergence of Dewey's aesthetics. In the second (Dewey and Education: Central Issues), we present the key aspects of this topic related to our purposes. In the third section (Two Neglected Roots of Dewey's Aesthetics), we develop our argument by describing how to recover these sources, and also by showing how Dewey's aesthetics could be critically re-evaluated or reconstructed from a contemporary viewpoint. Finally, we put forward a conclusion.The Genesis of Dewey's Aesthetics: A Re-interpretationIt is well-known that Dewey's aesthetics is usually equated with Art as Experience. This is part of the canonical interpretations that tend to conceive Dewey's philosophy in, using his term, grooves (LW 2:113). Democracy and Education... (shrink)

The overriding question Stroud confronts in John Dewey and the Artful Life is how to render more of life’s experiences, including the ensuing benefits, as aesthetic or artful as possible. The answer to this question is challenging and complex. The claim most aesthetic theories make is that an object, activity, or experience is artful if and only if it has intrinsic value. Although what constitutes intrinsic value is widely contested, having value in and of itself is a necessary and (...) sufficient condition for an object to be art or an experience aesthetic. This value gives art and aesthetic experience their unique quality and separates them from everyday objects, activities and experiences with only instrumental... (shrink)

While examining the important role of imagination in making moral judgments, John Dewey and Moral Imagination focuses new attention on the relationship between American pragmatism and ethics. Steven Fesmire takes up threads of Dewey's thought that have been largely unexplored and elaborates pragmatism's distinctive contribution to understandings of moral experience, inquiry, and judgment. Building on two Deweyan notions—that moral character, belief, and reasoning are part of a social and historical context and that moral deliberation is an imaginative, dramatic rehearsal (...) of possibilities—Fesmire shows that moral imagination can be conceived as a process of aesthetic perception and artistic creativity. Fesmire's original readings of Dewey shed new light on the imaginative process, human emotional make-up and expression, and the nature of moral judgment. This original book presents a robust and distinctly pragmatic approach to ethics, politics, moral education, and moral conduct. [The downloadable sample is Chapter Seven, "The Moral Artist."]. (shrink)

Pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey’s aesthetics. In order to confront the shortcomings and insufficiencies of his aesthetics, pragmatist aestheticians ought to establish a dialogue with continental aesthetics. The attempt to clarify what pragmatist aesthetics can learn from Theodor W. Adorno’s materialist aesthetics is still a desideratum. This essay focuses on two aspects. First, it shows that (...) pragmatist aestheticians can use Adorno’s modern aesthetics in order to gain a deeper and more complex understanding of the social nature or register of form (of what might be termed “die Gesellschaftlichkeit der Form”). Second, the essay demonstrates that Adorno, in contrast to Dewey, is valuable for the endeavor to grasp the significance of the dialectics of harmony and dissonance or organicity and fragmentation when analyzing modern art and literature. (shrink)

Alexander’s book has what may at first appera to be the fairly limited aim of defending Dewey’s aesthetics against a well-know charge made by Stephen Pepper and Benedetto Croce when Art and Experience was first published. Dewey, they suggested, had produced what purported to be a pragmatist theory of art. But since his theory retained many of the central tenets of idealism, the result was simply inconsistency.

This book explores the writings of philosopher and educator John Dewey in order to develop an expansive vision of aesthetic education and everyday poetics of living. Robert Pirsig's best-selling book, Zen and the Art of Motorcycle Maintenance, provides concrete examples of this compelling yet unconventional vision.

A critical introduction to the major areas of John Dewey's philosophical thought: psychology, epistemology, ethics, politics, education, aesthetics, and philosophy of religion. -/- Publisher: A ground-breaking introduction to one of America's most prominent philosophers -/- An icon of philosophy and psychology during the first half of the 20th century, Dewey is known as the father of Functional Psychology and a pivotal figure of the Pragmatist movement as well as the progressive movement in education. -/- This concise and (...) critical look at Dewey’s work examines his unique take on morality, art, and religion, his naturalistic approach to science and psychology, and his contribution to political thought. The author of over forty books across a range of topic, Dewey’s legacy remains not only through the works he left us, but also through the institutions he founded, which include The New School for Social Research in New York City and the University of Chicago Laboratory Schools. Hildebrand’s biography brilliantly interweaves the different strands of Dewey's thought, and examines the legacy he left behind. Source: Publisher. (shrink)

The aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as (...) foundational for well-functioning democracies. The Deweyan account of public art developed in this article is set against theories that explain its social value by public artworks’ ability to disrupt people's everyday routines and beliefs, as well as by the political alertness they often raise. Diana Boros's recent treatment of what she calls “visionary public art” serves as the main specimen of this approach. The Deweyan understanding of public art is illuminated and defended with the help of a reading of John Adams's On the Transmigration of Souls—a piece composed in memory of the victims of 9/11—that highlights its capacity to generate such communal experiences that have a fundamental role in Dewey's theory of democracy. (shrink)

Contemporary analytic aestheticians have little interest in the old paradigm of expression theory. They observe that expression theorists tend to locate the essence of art in the externalization of emotion, and they argue persuasively that this tendency is unfortunate. Then they consign expression theorists like Dewey; Collingwood, and Croce to the dustbin of history. This dismissive posture has become standard in aesthetics, for some good reasons. But at least in the case of Dewey, the reasons don't apply. The burden (...) of my dissertation is to make a case for this claim. ;While Dewey does help himself to the vocabulary of expressionism in Art as Experience, he uses it to make arguments less appropriate to a fin-de-siecle expression theorist than to a contemporary cultural critic. He never claims that art is essentially the expression of emotion; he doesn't even agree that emotion is what's expressed in art. His account of expression in art is about the production and reproduction of culture by means of individual agency. It is what Charles Taylor calls expressivism, not expressionism. ;My interpretation of Dewey's aesthetics diverges radically from the one in Alan Tormey's The Concept of Expression, which has become a kind of controlling precedent for the analytic approach to expressionism. I avoid and reject Tormey's reading by locating Dewey's musings on expression in the broader contexts of his conception of the aesthetic, his pragmatist philosophical system, and the tradition of expressivist thought that includes Hamann, Herder, Hegel and Marx. Proceeding in this way not only reveals certain motivations and themes that would otherwise remain obscure, but also highlights certain insights that point toward new, more culturally grounded modes of aesthetic theorizing. I try to recover Dewey's work as a step toward this new aesthetics, an approach that I call, following Cornel West, prophetic aesthetics. (shrink)

Defenders of value-free science appeal to cognitive attitudes as part of a wedge strategy, to mark a distinction between science proper and the uses of science for decision-making, policy, etc. Distinctions between attitudes like belief and acceptance have played an important role in defending the value-free ideal. In this paper, I will explore John Dewey's pragmatist philosophy of science as an alternative to the philosophical framework the wedge strategy rests on. Dewey does draw significant and useful distinctions between (...) different sorts of cognitive attitudes taken by inquirers, but none can be used to support the wedge strategy. (shrink)

Foreword, by S. Ratner.--Freedom and education, by H. M. Kallen.--Dewey's theory of the nature and function of philosophy, by A. E. Murphy.--Dewey's reconstruction of logical theory, by E. Nagel.--Method in aesthetics, by A. C. Barnes.--The religion of shared experience, by J. H. Randall, Jr.--A Deweyesque mosaic, by W. Hamilton.--Pragmatism as a philosophy of law, by E. W. Patterson.--The political philosophy of instrumentalism, by S. Hu.--Creative democracy, the task before us, by J. Dewey.

It is generally agreed that the most influential philosophers in America are Charles S. Peirce, William James and John Dewey. James's fame came rather suddenly in the latter half of his life—roughly, from 1880 to 1910; it flourished with the appearance of hisPrinciples of Psychology(1890) and shortly thereafter with his advocacy of pragmatism and radical empiricism. James was acclaimed in England and Europe as well as in America. Peirce, on the other hand, was almost entirely neglected; his work remained (...) unknown to all but a few philosophers and his chief acknowledgment was as a scientist and logician. His importance began to be recognized and his immense researches and writings studied some twenty-five years after his death. It was otherwise with Dewey. During his long lifetime his ideas not only engaged the reflections and critical discussions of philosophers, he also had a profound and contagious influence on education, the social sciences, aesthetics, and political theory and practice. In this respect his thought has reached a wider audience in America than that of either Peirce or James. In his day lawyers, labour leaders, scientists and several heads of state attested to the vitality of his wisdom. (shrink)

In this paper, I argue that Dewey’s pragmatist aesthetics, and in particular, his concept of consummatory experience, should be engaged anew to rethink the merits of the Philosophy for Children programme, which arose in the 1970s in the US as an innovative educational programme that aims to use philosophy to help school children improve their ability to become more conscious of and make judgments about the aspects of their experience that have ethical, aesthetic, political, logical, or even (...) metaphysical meaning. Although an international success, the PFC programme has attracted many criticisms from a variety of directions. I claim that Deweyan concept of consummatory aesthetic experience is broad and flexible enough to provide a robust framework to make sense of the pedagogical horizon of PFC and therefore fruitfully engage the various critics of the movement coming from religious and social conservatives, educational psychologists, critical theorists, postmodernists/posthumanists, and professional philosophers themselves. The goal of this paper is to offer in a preliminary fashion the basic elements of Deweyan pragmatist aesthetics, which was principally elucidated in his Art as Experience, to defend PFC as a viable pedagogy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dewey's Art as ExperienceThe Psychological BackgroundRichard Shusterman (bio)IThe year 2009 marks the 150th anniversary of John Dewey's birth and also the 75th anniversary of the publication of his aesthetic masterpiece Art as Experience—a book that has been extremely influential within the field of aesthetics, not only in philosophical aesthetics and aesthetic education but also in the arts themselves.1 I am honored to commemorate this double Deweyan (...) anniversary with an essay that reexamines Art as Experience by briefly tracing some of its major themes and clarifying its generative context of production and philosophical roots, while also suggesting, in passing, how some of these themes and roots contribute to its continuing philosophical relevance. Before going further, I should offer two preliminary cautions. First, Dewey's aesthetic magnum opus is obviously too rich and masterful in ideas and influence for any brief commemorative essay to hope to do it sufficient justice. Second, as Dewey defined philosophy as "a criticism of criticisms," so my remarks will include a critical dimension.2 This in no way denies my immense admiration for Dewey's achievement in Art as Experience, just as my noting of some formative influences on this work is in no way meant to diminish the impressive originality of his contribution.Dewey's Art as Experience first established pragmatist aesthetics on the philosophical map, yet his text makes no mention of pragmatism. There are good reasons for Dewey's reluctance to highlight the term. The pragmatic is closely linked to the practical, precisely the idea against which the aesthetic has, since Kant, been traditionally contrasted and often oppositionally defined as purposeless and disinterested. To describe his new aesthetic [End Page 26] explicitly as pragmatist might have aroused too much skepticism to insure Dewey's views a fair hearing. Moreover, the pragmatist movement did not yet have a real tradition of philosophical aesthetics on which Dewey could securely rely, a suspicious lack that encouraged the presumption that pragmatism had nothing worthwhile to offer the arts and no real interest in them. Neither C. S. Peirce (who first conceived and baptized pragmatism) nor William James (who made it an internationally famous movement and converted Dewey to it) provided any treatises on aesthetics in their voluminous and wide-ranging writings.It would be wrong to conclude, however, that these first prophets of pragmatism dismissed the aesthetic dimension as unimportant and that they contributed nothing to our understanding of art and criticism. As the originator of semiotics, Peirce significantly advanced the theory of symbols and interpretation in ways that enrich aesthetics. Appreciative of the role of play in creative expression and thought (which he tried to capture through an intriguing concept he called "musement"), Peirce also emphasized the immediately felt quality of experience (so crucial to aesthetics) as his first category of consciousness or "Firstness." Finally, Peirce urged the continuity and collaboration of aesthetics and ethics, even going so far as "making Ethics dependent upon Esthetics" and treating "the morally good … as a particular species of the esthetically good." If "Ethics is the science of the method of bringing Self-Control to bear to gain" what we desire, "what one ought to desire … will be to make [one's] life beautiful, admirable. Now the science of the Admirable is true Esthetics."3William James, whose keen aesthetic taste, wide culture, and love of art inspired his first career choice for painting, offered almost no theorizing in philosophical aesthetics because he was convinced that its abstract formal principles and discursive definitions necessarily failed to capture (and even tended to obscure) the crucial nameless subtleties of art that make all the difference in actual aesthetic experience. But James held the aesthetic dimension of experience (its immediately and distinctively felt but nameless qualities and the appeal that such qualities exercised on our minds and behavior) to be extremely important, well beyond the field of fine art. Maintaining that such aesthetic considerations deeply pervaded one's ethical and philosophical perspective, he even argued that contentions between rival worldviews rested largely on "aesthetic" discords or conflicting temperaments.4 James also devoted specific attention to the aesthetic emotions as "subtler emotions" (along with intellectual and moral... (shrink)

Abstract:It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, (...) pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay advances the argument that pragmatist aesthetics will profit from considering Nietzsche's radical insights and far-reaching suggestions. Concentrating on a comparison between Dewey and Nietzsche, the essay discusses three aspects: the relation between art and life; the question of art's noncognitivism; and the question of aesthetic form and its significance for modern art. (shrink)

This essay introduces a special issue devoted to studying the global impact and rich, ongoing legacy of John Dewey's aesthetic masterpiece _Art as Experience_, ninety years after its initial publication in 1934. After noting the role that the _Journal of Aesthetic Education_ played in assessing the book's influence, this introductory essay surveys the international reception of the book by exploring its history of translation and explaining the difficulties of its reception in certain countries. This survey demonstrates that the international (...) reception of _Art as Experience_ was largely retrospective, coming long after the book's initial appearance and apparently benefiting from the rise of neopragmatism and the international attention given to this new pragmatist expression. The translation and reception history of Dewey's book also reveals the economic and political factors that shape the international circulation of ideas. After five essays that focus on the reception of _Art as Experience_ in cultures where it was translated, the special issue concludes with three more essays that discuss how the book's ideas can be applied to contemporary issues in aesthetics and philosophy more generally, while suggesting ways where the book's goals could also be furthered by treating its limitations. (shrink)

This is the first collection in English devoted exclusively to pragmatist aesthetics. Its main aim is to employ the resources of that rich and exciting tradition in studying artistic phenomena such as film, sculpture, bio-art, poetry, the novel, cuisine, and various body arts. But it also attempts to provide a wider background for such studies by sketching the history of pragmatist reflection on the aesthetic and by discussing some of the main positions that this history has produced: (...) the aesthetic conceptions of C.S. Peirce, William James, John Dewey, Joseph Margolis, Richard Shusterman (somaesthetics in particular), and others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:John Dewey & Moral ImaginationWilliam T. MyersJohn Dewey & Moral Imagination, by Steven Fesmire. Bloomington and Indianapolis: Indiana University Press, 2003, 167 pp., $19.95 paper.The resurgence of interest in pragmatism, especially in regard to the work of John Dewey, has been ongoing for several decades now. In addition to the development of neo-pragmatism with its appreciation of the deconstructive side of Dewey, there have also been (...) numerous books written on the constructive side of pragmatism, including pragmatist aesthetics, metaphysics, politics, and education. An interest in pragmatist ethics, though later coming, seems to be picking up some steam at last, and Steven Fesmire's book, John Dewey & Moral Imagination, is an important contribution to that burgeoning area of inquiry.While Fesmire's book is not a full-blown account of a Deweyan moral theory, a fact he makes clear from the [End Page 107] outset, it is an insightful and important development of the role of aesthetics, inquiry, and imagination within a Deweyan framework. Fesmire is not interested in simply explicating Dewey's view of imagination, but in further developing Dewey's sometimes cryptic comments on the subject. But even more than that, Fesmire explicitly notes that he is going beyond Dewey, though Dewey is his starting point (p. 4). And in this enterprise, the book is successful, as Fesmire's development is very much in the spirit of Dewey's empiricism. That having been said, however, there are some elements of Dewey's ethics that I believe are important to Fesmire's interpretation, but do not receive enough attention in his book. In addition, the centrality of imagination seems somewhat overstated, sometimes to the detriment of other central notions. I will address these concerns later.In the Introduction, Fesmire states three interrelated theses that he builds a case for: "(1) Moral character, belief, and reasoning are inherently social, embodied, and historically situated; (2) Moral deliberation is fundamentally imaginative and historically situated; (3) Moral conduct is helpfully conceived on the model of aesthetic perception and artistic creation" (p. 4). He goes on to note that the first two are clearly and articulately defended by Dewey, and the third is "inspired" by him, but, clearly, this latter one he sees as a further development of Dewey's ethics.In order to build his case, Fesmire spends Part I of the book elaborating the "pragmatic turn" and its conception of "character, belief, inquiry, and intelligence" (p. 4). This first part is necessary in order to keep the second, more developmental part from seeming a piecemeal dialogue with traditional ethical theories. In other words, Part I contextualizes Part II.In the opening chapter, "Habit and Character," Fesmire contrasts the Deweyan notion of character with the traditional atomistic conception of the individual. As Dewey points out, it isn't that moral conduct ought to be social; rather it is social by its very nature (p. 13). Indeed, character and habits are socially derived from our cultural context. Moral inquiry is, then, social at its very base. Using the example of Studs Lonigan, Fesmire continues to develop these notions through a fascinating discussion of the James T. Farrell character. The application of the Deweyan notion of character and habit is a natural fit here, given that Farrell wrote his trilogy as an explicit exploration of Dewey's notion of habit. Through this discussion, we see the ongoing struggle of the individual and the environment, with the ultimate lesson learned being that one cannot be separated from the other, though either can be destructive of the other. Fesmire then applies this same essential idea to nature and culture. As Fesmire notes, "Dewey's goal was to break down the barriers that separate nature from culture, to show that biological drives are transmuted by social life, that neither impulse nor culture simply trumps the other, and that culture lends itself as much to intelligent conservation and critical redirection as to transmission" (p. 23). The lesson to learn from all of this is that the individual is not, as much traditional moral theory has supposed, a detached decision maker who can, by a simple act of will, follow some categorical imperative. Indeed, "[i]ndividuals... (shrink)

In this essay, I argue that Dewey's version of pragmatism did not allow him to develop a coherent theory of moral education. Dewey maintained that any learning is the matter of an acquisition of habits, and knowledge is a network of such habits. He did not distinguish between the actions and the purpose of these actions. Moreover, he suggested that the virtuousness of actions is contingent on the particular environment of the agent. Dewey's insistence on abstinence from a determination of (...) educational goals together with his conceptual ambiguity about the nature of habits and actions leave his contribution to our insights into moral education wanting. (shrink)

Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s analysis (...) of technology's impacts upon solitude and conversation. Because Turkle only raises but doesn’t pursue the philosophical dimensions of these issues, the work on experience of John Dewey, William James, and John J. McDermott is utilized to provide concepts and methods by which PIT’s effects might be judged. Finally, pragmatist aesthetics is introduced and consulted as a source of constructive ideals which might guide future amelioration of PIT’s more significant drawbacks. (shrink)

John Dewey relates ethics in general with the mode of inquiry. Against the mainstream ethics and moral theories, Dewey reconstructed morality in light of empirical science, providing the necessary steps of pragmatic ethical investigations. In this study, I have revisited Dewey’s ethical inquiry and recent developments of the methods of pragmatist bioethics. Using this approach in ethics, I have examined the development of reproductive technologies and genetics, precisely the moral dilemma of gestational surrogacy at the level of (...) a public issue that needs social policy. In the final part, I have suggested the significance of Dewey’s emphasis on education, deliberative democracy, and institutions and agents’ role as the basis to solve bioethical issues arising in different societal contexts. (shrink)

Writers in pragmatist aesthetics tend, as naturalists, to avoid the originally Kantian-Idealist term “autonomy” when discussing art and aesthetic experience. Even so, a more general autonomy concept, emphasizing that art and the aesthetic comprise a normatively special aspect of experience, is already implicit in much of the pragmatist aesthetics literature, including in John Dewey’s seminal Art as Experience. As the cultural disciplines move beyond earlier modernist- and postmodernist-era debates about art’s total autonomy from or (...) total “heteronomous” absorption within the processes of life, I argue that a more naturalistically down-to-earth version of the above general autonomy idea remains indispensable in a century of social, environmental, and existential crises whose solutions demand creative agency of a kind that artistically charged experiences can inspire. Drawing upon key pragmatist themes, I further develop the general autonomy idea by arguing that aesthetic experiences within and without the fine arts are horizontally transcendent; that art and the aesthetic answer a persistent human need for experiences that are intrinsically rewarding while also serving the instrumental function of being redemptive; that to this end, our global culture needs collectively accessible autonomous spaces within language and experience that can help people explore and interrogate the meanings of what we individually and collectively do; and that the value of our theoretical beliefs about the arts lies not in their power to represent a world supposedly independent of human thought and action but in what they lead us to do in the world. In conclusion, I illustrate this pragmatic interpretation of the general autonomy idea with a reading of Richard Powers’ novel The Overstory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Dewey and the Question of Artful CommunicationScott R. StroudThe American pragmatist John Dewey included tantalizing sections of praise of the power of communication in his important work on community, experience, and their improvement, noting in 1925 that "of all aff airs, communication is the most wonderful" (1988a, LW 1:132) and in 1927 that communication plays an important part in the individual's attempt "to learn to (...) become human" (1984, LW 2:332).1 Some in the field of communication have sensed the important, but undeveloped, role that communication plays in his thought and have attempted to use Dewey's work in analyzing rhetorical practice, cultural studies, and the role of journalism in society.2 While such studies strive to clarify the value and process of communication in Dewey's thought, they fall short of explaining one seemingly simple thing that is implied in these passages—that communication can be experienced as aesthetic or artful. Nathan Crick identifies such a lacuna in the literature and notes that "beyond its utility as an argument against elite forms of academic criticism, the value of Dewey's aesthetic theory for communication studies remained underdeveloped" (2004, 303). Although he does an admirable job of tracing the relation of aesthetics to communication in Dewey's evolving thought, Crick comes no closer than others in answering the fundamental question of how communication can be artful or aesthetic—he merely argues for the general point that " communication, [End Page 153] whether it occurs in an oration, a conversation, or a television, is best understood as a form of art that has the potential to bring about aesthetic experience in its participants and open their eyes to the world of possibility embodied within each of us" (2004, 314). How exactly does this aesthetization of communication occur? Crick ends his article with the interesting claim that "in its aesthetic form communication becomes rhetorical. It turns communication into an art whose goal is a presentation that unites form and rhythm in a manner that can reach down into the experiences of the audience and literally transform them into something new" (2004, 317). How exactly does communication meet such standards? Does such a "high" art of communication as rhetoric fit everyday communication, the vast majority of human communicative practices?3 Although Crick's study is an important inquiry into the overall role of communication in Dewey's aesthetics, it still leaves open the fundamental question—How exactly can any given act of communication (beyond the eloquent and poetic oration) be rendered aesthetic or artful?This question was vitally important for Dewey, as he places artistic and aesthetic aspects of communicative practice at the very heart of his social and political philosophy. In describing the "Great Community," he announces that it will take place when two conditions hold: "The highest and most difficult kind of inquiry and a subtle, delicate, vivid and responsive art of communication must take possession of the physical machinery of transmission and circulation and breathe life into it.... Democracy will come into its own, for democracy is a name for a life of free and enriching communion.... It will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication" (1984, LW 2:350). This is a vital passage for understanding Dewey's aims, as it clearly links a scientific method of thinking (his preferred method of "inquiry") with a form of communication that can be taken as an art.Yet scholars of communication systematically miss this part of the Deweyan equation. For instance, take Lary Belman's early study of Dewey's view of communication. He concludes by analyzing this same passage from Dewey on the two conditions of the Great Community and states, "The basic conditions for the creation of a Great Community... were, Dewey postulated, the presence of (a) vigorous, systematic, and continuous social inquiry to reveal the influential agencies at work in society and their mode of operation, and (b) widespread and rapid distribution of the findings of this inquiry in a form readily understood by those for whom these findings [End Page 154] have significance" (1977, 36–37). It is remarkable that the... (shrink)

The publication of Art as Experience in 1934 marked a theoretical turning point away from the disinterested spectatorship of Kant towards an aesthetics of everyday life. Dewey’s major claim therein is that “aesthetic experience” is privileged and ought to be taken as paradigmatic for all experience because it is controlled by an affective unity that he calls “pervasive quality” which harmonizes thought and action with its social and environmental context. In 1935 Walter Benjamin argued that pre-industrial works of (...) art have an “aura” that exerts an affective lure on consciousness, and that the remnants of this aura in the post-industrial age may lead to the abandonment of critical thought and seduce the masses into the sway of fascism. This paper considers John Dewey’s aesthetic theory in light of the critical perspective developed by his contemporaries in the Frankfurt School. I will consider whether Dewey’s reliance on the qualitative dimension of experience undermines the critical reflection that, theoretically, prevents the “aestheticization of politics” that leads to the spread of fascism, and propose that pragmatist aesthetics would benefit from greater tolerance for the “negativity” exemplified by the critical theorists. (shrink)

The paper compares John Dewey's pragmatism and cultural-historical activity theory as epistemologies and theories of transformative material activity. For both of the theories, the concept of activity, the prototype of which is work, constitutes a basis for understanding the nature of knowledge and reality. This concept also implies for both theories a methodological approach of studying human behavior in which social experimentation and intervention play a central role. They also suggest that reflection and thought, mediated by language and semiotic (...) artifacts, serve the reorientation of activity and is vital in the development of new, alternative ways of action. That is why Dewyan pragmatism and activity theory supply means of understanding organizational behavior and change in human activities better than the concepts of practice based on rule following, routines or embodied skills. (shrink)

Despite the minimal attention paid by philosophers to gardening, the activity has a myriad of philosophical implications—aesthetic, ethical, political, and even edible. The same could be said of community food security and struggles for food justice. Two of gardening’s most significant practical benefits are that it generates communal solidarity and provides sustenance for the needy and undernourished during periods of crisis. In the twentieth century, large-scale community gardening in the U.S. and Canada coincided with relief projects during war-time and economic (...) downturn. More recently, small-scale gardening projects have emerged in schools, blighted urban areas, and communities of activists committed to increasing food security and resisting neo-liberal city planning policies. It is therefore surprising that pragmatist philosophers, who typically work at the nexus of theory and practice, have remained relatively silent about the relationship between gardening and food security. If more were to take up the challenge, they would find considerable guidance from several contemporary scholars working in diverse disciplines, from cultural geography to community studies, who explore the topic in a number of non-philosophical, though equally effective and imaginative, ways. In this paper, I propose a tentative pragmatist model for understanding how gardens make our food system more secure—a model inspired by John Dewey’s writings on school gardening, which I call the pragmatic pyramid. (shrink)

CHAPTER I DEWEY'S CONCEPT OF EXPERIENCE AND NATURE John Dewey, ever the celebrant of experience, did not attempt to write a formal work in aesthetics until ...

In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates (...) the segue between art and the perceiver, and his belief that within the profound art experience, lived dichotomies are healed:In art as an experience, actuality and possibility or ideality, the new and the old, objective material and personal response, the individual and the universal, surface and depth, sense and meaning, are integrated in an experience in which they are all transfigured from the significance that belongs to them when isolated in reflection.2Although the ephemeral nature of Dewey's definition of art-as-experience — hinged upon immediacy and the subjective heuristics of the perceiver — may seem difficult to capture and apply, the practicality of the concept, Richard Shusterman argues, lies in its "transformative potential," as a way to reconceive the place of art and its function in our world:Defining art as experience, I argue, also has value in widening the realmof art by challenging the rigid definition between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice as defined by the institutional art world. In other words, I argue that Dewey's definition of art as experience has a very fruitful transformational potential.3By defining art as experience, Dewey also sought to dissolve the binary structures of aesthetic rifts: art and life, high art and low art, body and mind, subject and object, self and world, emphasizing the holistic action in our engagement with art.4 But according to Dewey, the divisor of art from life and thus to blame for the aesthetic barrenness of our lived reality is the museum institution, as Shusterman describes: [End Page 91]The compartmentalization and spiritualization of art as an elevated "separate realm" set "upon a far-off pedestal," divorced from the materials and aims of other human effort, has removed art from the lives of most of us, and thus impoverished the aesthetic quality of our lives.(PA, 19)However, we must keep in mind that Art as Experience was published in 1934. Today, new approaches towards encounter and engagement within public museums are taking form and gaining momentum, with unprecedented directorial visions and mandates designed to nurture and make accessible art-based experiences among diverse audiences — where art and life can meet via multiple approaches. Theoretical synchronicities between pragmatist approaches to aesthetics and fruitful museum experiences can be suggested upon consideration of various innovative programs and approaches initiated at the Tate Modern in London and the Baltic Center for Contemporary Art in Gateshead. The overwhelming success of both venues could signify a reengagement of the general public with contemporary art, fed by "democratic," participatory approaches to exhibiting and programming art that make the museum more accessible to the various mixed publics it serves. In light of these new museological developments, Dewey's polemic oppositions between his conceptualizations of the museum experience and "art-as-experience" should be reexamined and possibly redefined.Dewey was entirely opposed to the concept of "art for art's sake." By exonerating art of any functional value — deeming it "fine" — art was elevated to a position separate from life, and thus rendered impotent to effect a lived aesthetic experience (which is how, Dewey would argue, the arts function most powerfully — as the purveyors of heightened experience). As Shusterman describes:The underlying motive for such attempts to purify art from any functionality was not to denigrate it as worthlessly useless, but to place its worth apart from and above the realm of instrumental value...and this freedom from use would be its defining and ennobling feature.(PA, 9)Dewey (and Shusterman) thus maintained that the very power construct that put the "fine" in art did so by removing the aspect of function from it. As previously stated, Dewey blamed museum institutions for removing art from its... (shrink)

Dewey's most direct treatment of law and legal theory, "Logical Method and Law," presents a sketch of a pragmatic theory of law. Dewey claims the law needs "a logic relevant to consequences, not antecedents." This paper unpacks Dewey's pragmatic theory of law and outlines some criticisms of Dewey's legal views set forth by the American Legal Realist Karl Llewellyn in an unpublished manuscript titled "John Dewey and Our Law." This paper aims to identify where Dewey and Llewellyn agree and (...) where they, as representatives of major schools of thought, part company. (shrink)

Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience, Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics. In this paper, I show that Dewey already refuses the gap between the practices of the ‘artworld’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our (...) daily life have the same essential structure as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions. (shrink)

Creative Intelligence: Essays in the Pragmatic Attitude represents an attempt at intellectual cooperation. No effort has been made, however, to attain unanimity of belief nor to proffer a platform of "planks" on which there is agreement. The consensus represented lies primarily in outlook, in conviction of what is most likely to be fruitful in method of approach. As the title page suggests, the volume presents a unity in attitude rather than a uniformity in results. Consequently each writer is definitively responsible (...) only for his own essay. The reader will note that the Essays endeavor to embody the common attitude in application to specific fields of inquiry which have been historically associated with philosophy rather than as a thing by itself. Beginning with philosophy itself, subsequent contributions discuss its application to logic, to mathematics, to physical science, to psychology, to ethics, to economics, and then again to philosophy itself in conjunction with esthetics and religion. The reader will probably find that the significant points of agreement have to do with the ideas of the genuineness of the future, of intelligence as the organ for determining the quality of that future so far as it can come within human control, and of a courageously inventive individual as the bearer of a creatively employed mind. (shrink)

Modern China's acceptance of Dewey's legacy of aesthetic thought is divided into three main periods. In 1906–49, Dewey's _Art as Experience_ was noticed, but due to the fact that China was more concerned with the social realities and national crisis at that time, its aesthetic thought appeared as an accessory to Dewey's social philosophy and educational thought, and its rich significance was properly realized only within the practice of aesthetic education. From 1949 to 1978, Dewey's aesthetics was effectively suppressed (...) through China's ideological storms. From 1978 to the present, benefitting through China's policies of reform and opening, Dewey's aesthetics gradually gained the attention of Chinese academics and found expression in considerable research that develops the book's legacy in distinctive forms of contemporary Chinese aesthetics: life aesthetics, somaesthetics, and ecological aesthetics. (shrink)

This dissertation sets out Dewey's theory of society, as outlined in the lecture notes for his courses on social and political philosophy between 1923 and 1928. I argue that Dewey had tripartite theory of economic processes, political/legal structures and social-moral functions that focuses on the relationship between material/technological forces and the institutions established to direct them. ;The first section presents and then refutes the charge that pragmatic social thought reduces thought to sheer efficiency and is therefore unable to resist ideology. (...) The primary dispute was between the turn toward objectivist methodology in American social science, frequently attributed to Dewey's influence, and those who saw this turn as a decline into crude, instrumental reason. Unlike the objectivists, instrumentalism incorporated ideas of intersubjectivity, value, and reflexivity. He did not believe that democracy could be best served by a managerial elite who sharply divides facts from values and means from ends. ;The second section comprises the positive presentation of Dewey's social theory. Chapter three discusses economic processes. I set out the organic model that guides his early and late economic theory and how Dewey draws from J. A. Hobson's theory of underconsumption to organize a coherent set of specific economic proposals during the Great Depression. Chapter four presents Dewey's theory of political structures, laws, institutions and habits that shape the direction of material life. But these structures may come in time to restrain further economic and technological growth. The final chapter takes up the breakdown of traditional structures, the reconstruction of which Dewey believed to be the fundamental problem of modernity. There is a need for new customs and institutions that continue traditional ideals of liberalism while being grounded in modern material conditions. The need, Dewey believed, was for a social theory that would understand the interplay of forces and institutions and direct them toward a democratic culture. ;I end with an epilogue on uses of Dewey's thought within contemporary social theory. The cheerful pursuit of instrumental reason by the neo-pragmatists Richard Rorty, Stanley Fish and Richard Posner is contrasted with recent work in the communitarianism/liberalism debate. (shrink)

Mark Johnson’s work The Meaning of the Body presents John Dewey’s pragmatism and pragmatist aesthetics as the forerunners of the anti-Cartesian embodied enactive approach to human experience and meaning. He rejects the Kantian noncognitive character of aesthetics and emphasizes that aesthetics is the study of the human capacity to experience the bodily conditions of meaning constitution that grows from our bodily conditions of life. Using Mark Johnson’s view as a starting-point, this paper offers the (...) beginning of an enactive approach to aesthetic preference contributing to bringing human aesthetic behavior research closer to the enactive approach to human experience. Following enactive studies on bodily sense-making and embodied emotions, I identify the bodily conditions of meaning constitution in which aesthetic preference is grounded with the subject’s self-regulatory visceral embodied constitution of viable degrees of value of the environmental factors according to her bodily structure. Unlike mainstream aesthetic preference research in empirical aesthetics, I claim that the subject’s aesthetic preference constitution requires the lived experience of the bodily conditions of meaning constitution through the conscious experience of the subjectively aroused lived body. The implausibility of the mind/body dichotomy of current aesthetic preference research is highlighted. (shrink)

Donald Capps and John Capps's James and Dewey on Belief and Experience juxtaposes the key writings of two philosophical superstars. As fathers of Pragmatism, America's unique contribution to world philosophy, their work has been enormously influential, and remains essential to any understanding of American intellectual history. In these essays, you'll find William James deeply embroiled in debates between religion and science. Combining philosophical charity with logical clarity, he defended the validity of religious experience against crass forms of scientism. Dewey (...) identified the myriad ways in which supernatural concerns distract religious adherents from pressing social concerns, and sought to reconcile the tensions inherent in science's dual embrace of common sense and the aesthetic. James and Dewey on Belief and Experience is divided into two sections: the former showcases James, the latter is devoted to Dewey. Two transitional passages in which each reflects on the work of the other bridge these two main segments. Together, the sections offer a unique perspective on the philosophers' complex relationship of influence and interdependence. An editors' introduction provides biographical information about both men, an overview of their respective philosophical orientations, a discussion of the editorial process, and a brief commentary on each of the selections. Comparing what these foremost pragmatists wrote on both themes illumines their common convictions regarding the nature of philosophical inquiry and simultaneously reveals what made each a distinctive thinker. (shrink)

This paper demonstrates the innovative character of the approach to metaethics underlying John Dewey’s pragmatism. Dewey's theory of evaluation is contrasted with one of the most dominant contemporary metaethical theses: constructivism. I show that the insistence placed by metaethical constructivists on the actor’s practical point of view, on the rejection of the subjective preferences model, and on a specific form of ethical antirealism and naturalism echoes some of the most crucial claims made by Dewey. This argumentation leads to (...) my main hypothesis: an analysis of Dewey's conception of evaluation allows us to highlight the groundbreaking character of its metaethical approach—an approach that will be characterized as fairly constructivist. (shrink)

Abstract:This essay applies lessons from John Dewey’s theory of democracy and democratic education to the modern development of information communications technologies and the assertion that the development of such technologies will lead to a more open, more democratic society. Given the continuity of the technology and its applications with structures of oppression within modern society, any attempt to resolve or democratize technology through skills-based training is bound to fail, as this does not resolve the cultural habits that enable (...) oppression through technology. To this end, what is necessary is democratic education that recognizes the unique contexts in which students become individuals and furnishes flexible habits of transaction. (shrink)

This book develops John Dewey's broad conception of social conflict as a natural process of discovery and preference adjustment, resolving Kenneth Arrow's famous theorem of the impossibility of ordering diverse preferences through voting. It addresses the nature and resolution of today's urgent problems and political polarization.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic (...) expression. Over." --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

In this article, it is argued that the inordinate amount of time and attention given to the use of textbooks in education inadvertently leads to deadening miseducative experiences and creates a learning environment where what Dewey calls ‘consummatory experience’ is thwarted. In order to unpack this thesis, Dewey’s pragmatist aesthetics is engaged, and in particular, his concept of consummatory experience is defined and its temporal nature is elucidated by referring to two modes of time: chronological and phenomenological. (...) Subsequently, the relation between teaching and consummatory experience is elucidated to uncover the reason why using textbooks is counterproductive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Evolution of Pragmatism in India: Ambedkar, Dewey, and the Rhetoric of Reconstruction by Scott R. StroudAlbert R. SpencerBy Scott R. StroudThe Evolution of Pragmatism in India: Ambedkar, Dewey, and the Rhetoric of Reconstruction Chicago and London: The University of Chicago Press, 2023. 302 pp., incl. indexMore scholarly attention needs to be paid to the mutual influences between Asian and American thought, especially with regards to the development, (...) legacy, and future of pragmatism. Fortunately, there have been several notable attempts. Throughout his works, Richard Shusterman frequently incorporates the perspectives of various East Asian philosophies into his articulation of somaesthetics. Multiple scholars have explored John Dewey’s lectures in China and their political and educational impact, such as Jessica Ching-Sze Wang’s John Dewey in China or The Democracy of the Dead by Roger T. Ames and David L. Hall. Still others have highlighted the influence of Indian thought on pragmatism’s forerunners, such as American Philosophy Before Pragmatism (Goodman 2015), American Pragmatism: An Introduction (Spencer 2020), and The Ethics of Oneness (Engles 2021). Perhaps the most interesting inquiries into this influence can be found in a special volume of The Journal of Aesthetic Education (Vol. 43, No. 1) where multiple scholars discuss pragmatism’s connections and comparisons to The Bhagavad Gita, Confucianism, and Taoism. Among these scholars is Scott Stroud whose most recent publication The Evolution of Pragmatism in India (2023) represents the culmination of nearly two decades of research on the subject with special attention to the continuities between pragmatism and Indian thought. In it, he meticulously explores the influence of John Dewey on one of his students, Bhimrao Ambedkar (1891–1956), who was a transformative figure in the founding of the nascent Republic of India. The result is a work of scholarship that shows the global relevance of pragmatism in the 20th Century, [End Page 456] introduces the fascinating philosophy of Ambedkar to a non-Indian audience, and provides an entry for further scholarship on this profound thinker and activist.Bhimrao Ambedkar was a critical figure in the birth of modern India. Born an “untouchable” due to the rigid caste system, he tirelessly advocated for the right of Dalits (“crushed” or “untouchables”). By the mid-20th century, he had greatly influenced Indian politics, safeguarded the interests of the oppressed, and played a key role in drafting the Indian Constitution. Separate to his role as a statesman, Ambedkar promoted Buddhism in the 1950s as an escape from caste oppression, culminating in his publication, The Buddha and His Dhamma (1957). While his name is less familiar outside of India, he was voted the “Greatest Indian” in a 2012 poll due to his profound impact on the nation’s post-independence development. These accomplishments were supported by an extensive education, but unlike most subjects of the British Empire, Ambedkar also studied in the United States. Stroud initiates his study by focusing on this formative period, specifically his time at Columbia University and the influence of the philosopher and psychologist John Dewey. While their relationship has been acknowledged, Stroud is the first to explore this relationship in depth and he not only reconstructs the influence of Dewey on Ambedkar’s Navayana Pragmatism but illuminates the ways that Ambedkar integrated, modified, and even resisted Dewey’s pragmatism.Stroud masterfully builds his reconstruction of this synergy between Dewey’s pragmatism and Ambedkar’s philosophy not out of ephemeral conjecture or pithy textual evidence, but through painstaking, detailed, and exhaustive scholarship. He draws on comparative evidence in their major and minor works, their private correspondence, interviews of Ambedekar’s cohort at Columbia, Dewey’s voluminous lecture notes, and even the marginalia and notecards found between the pages of Ambedkar’s pragmatism bookshelf. Indeed, I often found myself pleasantly distracted as I imagined Stroud’s academic pilgrimage throughout India, Columbia University, and the Center for Dewey Studies to find every scrap of relevant information. In our age of instant information and digital archives, it is refreshing and inspiring to encounter a scholar still willing to trek across the globe for answers to his inquiries. Despite his passion to uncover the influence of Dewey on Ambedekar, Stroud never reduces the... (shrink)