"An Estimate of Dewey's Art as Experience," pp. 5-18 in Tulane Studies in Philosophy

1956 ◽  
Vol 15 (2) ◽  
pp. 261
Author(s):  
Douglas N. Morgan ◽  
Edward G. Ballard
Keyword(s):  
Art As Experience

Dewey’s Objections to Traditional Doctrines

1988 ◽  
pp. 101-124
Author(s):  
Raymond D. Boisvert
Keyword(s):  
John Dewey ◽  
Art As Experience

This chapter suggests that an awareness of the weaknesses and errors John Dewey finds in the traditional doctrines is crucial in piecing together the constructive doctrine he propounds. It looks at the objections Dewey has to earlier ontologies, beginning with an analysis about a traditional distinction—that between techne and physis—which is essential to an understanding of Dewey, especially in relation to earlier naturalistic thinkers. The chapter also examines Dewey’s works to elucidate his objections to other theories of form. These will come mostly from Experience and Nature and Art as Experience. Finally, the chapter deals with certain sections of The Quest for Certainty which provide a good link with both the discussions of idealism and its subsequent constructive analyses.

The Life of Rhythm

2019 ◽  
pp. 101-109
Author(s):  
Garry L. Hagberg
Keyword(s):  
Fine Arts ◽  
Jazz Improvisation ◽  
Living Body ◽  
The Arts ◽  
Art As Experience ◽  
Universal Scheme ◽  
Live Organism

Chapter 6 poses the question: Why does rhythm speak to us so deeply? Patterns of accented or percussive sound that move us are meaningful, yet we find it hard to say what associations or connotations create that meaning. It argues that John Dewey’s Art as Experience has deep insights on this question, and focuses on their implications for jazz improvisation. For Dewey, both player and listener are like the live organism interacting within its environment. Hagberg addresses Dewey’s understanding that “rhythm is a universal scheme of existence, underlying all realization of order in change, [that] pervades all the arts, literary, musical, plastic and architectural, as well as the dance”; that “The supposition that the interest in rhythm which dominates the fine arts can be explained simply on the basis of rhythmic processes in the living body is but another case of the separation of organism from environment.”

scholarly journals The Sandcastle Classroom

2017 ◽  
Vol 5 (6) ◽  
pp. 80-97
Author(s):  
Eric William Mishne
Keyword(s):  
Classroom Instruction ◽  
Kenneth Burke ◽  
Long Term Effects ◽  
Work Of Art ◽  
Course Content ◽  
Art As Experience

This essay positions the classroom as a work of art. More specifically, the author suggests that the classroom is a form of temporary art not unlike a sandcastle. Relying heavily on John Dewey’s Art as Experience, and finding auxiliary support from authors such as Elaine Scarry, Drew Leder, and Kenneth Burke, this essay argues that art and teaching occur simultaneously and are inseparable. Comparing teaching to building a sandcastle and other types of art, an examination of the role of the teacher as an artist, the course content as the message, the space of the classroom as the medium, and the students as the audience build the foundation for this artful perspective of teaching. Finally, the collaborative experience of the teacher and student illustrate the long term effects of this aesthetic perspective reinforcing the value of purposeful and artistic classroom instruction and course creation.

scholarly journals A arte como experiência

2017 ◽  
Vol 12 (1) ◽  
pp. 161
Author(s):  
Miguel Mesquita Duarte
Keyword(s):  
New York ◽  
Art As Experience

[Resenha de: DEWEY, John. Art as Experience. New York: A Perigee Book, 1980.]

Coleridge, John Dewey, and the Art of Contemplation

2017 ◽  
Author(s):  
Kathleen Wheeler
Keyword(s):  
John Dewey ◽  
Human Experience ◽  
Philosophy Of Art ◽  
Ordinary Life ◽  
Art As Experience ◽  
Insight Into ◽  
Profound Insight

Chapter 4 reads Dewey’s Art as Experience as steeped in Coleridge, a constant reference throughout this foundational pragmatist aesthetics. Indeed Dewey said he found ‘spiritual emancipation’ in Coleridge’s Aids to Reflection, calling it ‘my first Bible’ (qtd in John Beer Aids to Reflection cxxv). Coleridge’s account of perception as active and creative, not passively receptive, gave Dewey profound insight into human experience, helping him articulate his philosophy of ‘art as experience’ whereby art originates in imaginative ordinary life. For Coleridge, ‘act’ and ‘activity’ ground both mind and matter in the same natural powers of production/creation: ‘a repetition in the finite mind of the eternal act of creation in the infinite I AM’. Dewey’s analogy between the error of separating art from ordinary life, and divorcing imaginativeness from ordinary perception, shows how memories of prior acts of imaginative perception usurp the place of actual acts, as dead metaphors do in language.

Aesthetics of the Everyday

2009 ◽  
Author(s):  
Crispin Sartwell
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Philosophy Of Art ◽  
Aesthetic Experiences ◽  
Popular Art ◽  
Art Objects ◽  
Everyday Aesthetics ◽  
Art Activities ◽  
Art As Experience ◽  
The Aesthetic

‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.

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