With its inherent attributes such as qualitative immediacy, imaginativeness, and embodiment, John Dewey’s concept of aesthetic experience makes a difference in moral education, in the ways of empathetic moral perception, moral reasoning, and moral action. If it matters then how can we help students gain aesthetic experience? By analyzing teacher Ho-Chul Lee’s approach to teaching drawing, called living drawing, this question is examined in terms of aesthetic style of teacher and teaching, and the aesthetic educational environment. This article will provide (...) insights into how living drawing as an approach promotes aesthetic experiences and how it influences students’ moral experiences. (shrink)

Some strands of environmental concern invite a radical re-evaluation of many taken for granted assumptions of late modern ways of life—particularly those that structure how we relate to the natural world. This article explores some of the implications of such a re-evaluation for our understanding of moral education by examining the significance of ideas of our place in nature that focus not on our location in some grand abstract system, but on our felt sense of place in the course of (...) our daily existence. It will be argued that exploration of the anticipatory and ecstatic nature of such concrete emplacement reveals an underlying normative character to our encounters with nature, now experienced as an autonomous and essentially mysterious non-human other that both sustains and is sustained by places—places in which find ourselves and live out our lives. It is argued that this view foregrounds a notion of transcendence that leads to both a questioning of the anthropocentrism that informs many Western moral views and an acknowledgement of intrinsic value in nature, such that some current mainstream understandings of the character of moral sensibility and of moral education can no longer be regarded as adequate. (shrink)

In his famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin tells us that in his time art became valued for its exhibition value instead of what he refers to as its secularised ritual or cult value. This essay makes this bold claim plausible by arguing that it means that a historicising gaze no longer has a function in the reception of art. Although this argument is supported by Benjamin’s use of the concepts of (...) authenticity and aura, it is somehow missed by Benjamin’s many readers. His essay, as it turns out, presents an end of history thesis, which foreshadows the condition of the image in contemporary media. (shrink)

This paper is an argument for drawing creative practice to the center of philosophical aesthetics. Such an approach would engage philosophical problems that originate from artistic practices. It would also give aesthetics a role in the cultivation of creative practices, both inside and outside of traditional artistic fields. As such aesthetics would begin to engage questions that are pertinent to creativity and the enhancement of artful living.

This article argues that the concept of moodiness provides significant resources for developing a more robust pragmatist theory of action. Building on current conceptualizations of agency as effort by relational sociologists, it turns to the early work of Talcott Parsons to outline the theoretical presuppositions and antinomies endemic to any such conception; William James and John Dewey provide an alternative conception of effort as a contingent rather than fundamental form of agency. The article then proposes a way forward to a (...) nonvoluntarist theory of action by introducing the notion of moodiness, highlighting how the concept permits a richer conceptualization of actors' prereflexive involvement in and relatedness to nonneutral, demanding situations. Effort is reconceptualized as a moment in a broader process of action, where the mood is fragile and problematical. Finally, the article draws all of these elements together in an outline of a unified portrait of the pragmatist action cycle that includes both creativity and moodiness as essential moments. (shrink)

I describe how close attention to the process of sculpting clay from the perspective of Material Engagement Theory can create a detailed description of a mutable sense of agency and of self. First, I show that sculpting is associated with a loss of sense of agency and self. Second, that to sense agency as a systemic phenomenon creates anxiety. Third, that meaning in an art encounter develops in association with an anterospective viewpoint. Fourth, that within the logic of the extended (...) mind, emergent meaning becomes openly available for further exploration. Fifth, that artistic creativity is not an opaque process. It proceeds in a similar manner to other forms of human, sense-making activities. Finally, that playing seriously with clay can be used in an investigative manner—as a tool for material conceptualisation. (shrink)

Despite the burgeoning interest in new and more complex accounts of the organism-environment dyad by biologists and philosophers, little attention has been paid in the resulting discussions to the history of these ideas and to their deployment in disciplines outside biology—especially in the social sciences. Even in biology and philosophy, there is a lack of detailed conceptual models of the organism-environment relationship. This volume is designed to fill these lacunae by providing the first multidisciplinary discussion of the topic of organism-environment (...) interaction. It brings together scholars from history, philosophy, psychology, anthropology, medicine, and biology to discuss the common focus of their work: entangled life, or the complex interaction of organisms and environments. (shrink)

I argue that John Dewey’s analysis of imagination enables an account of learning from imaginary cases consistent with Jonathan Dancy’s moral particularism. Moreover, this account provides a more robust account of learning from cases than Dancy’s own. Particularism is the position that there are no, or at most few, true moral principles, and that competent reasoning and judgment do not require them. On a particularist framework, one cannot infer from an imaginary case that because a feature has a particular moral (...) importance there, that it must have that import in an actual case. Instead, for Dancy, cases can yield “reminders,” and a person with a lot of experience (real or imagined) brings a “checklist” of features that can matter to a situation. Using the Nathan-David exchange from 2 Samuel and Martha Nussbaum’s “Steerforth’s Arm” from Love’s Knowledge, I show that this account does not explain all instances of learning from cases. Drawing on recent work on cases, I argue that cases can be educative by serving an exploratory function, probing what one takes to be known and provoking change in the background one uses in evaluating a situation. I then argue that Dewey’s work on imagination in his comments on sympathy and in A Common Faith and Art as Experience enables such a role for cases on a particularist framework. Mark Johnson’s recent work on metaphor further illuminates how Dewey’s account of art can be exploratory. I contend that this account affords an exploratory role for cases consistent with Dancy’s particularism. (shrink)

Desde una perspectiva matricial de la cultura, la autora aborda el estudio de las identidades sociales en su dimensión estética. La presentación dramatúrgica de la persona propuesta por Goffman adquiere un perfil más concreto al enfocar a las identidades a partir de sus procesos de gestación y proyección, pues nunca brotan en el vacío sino a través de matrices que ineludiblemente las conforman. Mandoki explora identidades colectivas religiosas como la cristiana, la musulmana y la judía, así como prácticas familiares, escolares, (...) artísticas y médicas donde la estética opera con todo su poder de seducción, repulsión, cohesión o distinción. Ello implica no sólo que cada sujeto despliega identidades diferentes según las matrices en que se ubique y con cuyos símbolos se identifica, sino que lo realiza por medio de estrategias estéticas que suministran la adherencia efectiva. (shrink)

Scientific literacy is one of the primary purposes of science education which briefly focuses on using and interpreting scientific explanations, understanding science within its culture. However, science curricula emphasize science with its cognitive aspects and underestimate affective and aesthetic aspects of science. Science education needs to cover beauty of science for students to cross borders between their own culture and culture of science and to achieve the aim of scientific literacy. Relating aesthetic aspects of science with content of science and (...) paving the way for aesthetic experiences through artworks may enrich science education. The purposes of this study are to discuss the need of integrating aesthetic aspects of science in science instruction and to propose examples and pedagogical suggestions to promote aesthetic experiences into the science education. Artworks are selected to present socio-cultural aspects of science to demonstrate the culture of science, their stories are explained, and pedagogical suggestions are proposed. Advantages and difficulties of using artworks in science instruction are discussed as a result of the study. (shrink)

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas about music, (...) which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)

In 2010, David Waddington published a paper in Studies in Philosophy of Education entitled “Troublesome Sentiments: The Origins of Dewey’s Antipathy to Children’s Imaginative Activities.” In this article, Waddington embarks on a genealogical account of Dewey’s “apparent hostility toward children’s imaginative pursuits.”. This paper extends and refines Waddington’s argument, arguing that the distinction between fantasy and creative imagination is an important one to understanding Dewey. I conclude that Dewey’s antipathy is really focused on fantasy. This antipathy extends throughout much of (...) his educational, psychological, and aesthetic work. Dewey’s distain for fantasy rests on his arguments about the creative and productive purposes of thought and activity. He feels that fantasy, dealing with the unreal and overly emotional aspects of thought, is unproductive and, occasionally, dangerous. I argue that this is an underestimation of fantasy, one that rests on a conflation of fantasy as an activity with the fantastic as subject matter. I argue that Dewey underestimates fantasy, demonstrating that it might serve the moral and aesthetic purposes that drive his account of imagination. (shrink)

This article explores the pedagogical implications of John Dewey’s claim that his definition of experience is shared by Daoists. It compares characteristics of experience with those in Daoism, and then considers the similarities and differences between key cultivation practices each proposes, focusing on the roles of the teacher and sage. My main reference to Daoism is the translation of the Daodejing by Roger Ames and David Hall, who use Dewey’s conception of experience to explain the character of Daoism. There are (...) two facts that Dewey chooses to define experience and link with Daoism—what it is not, and what it is. Comparisons of these facts with Daoism support Dewey’s claim: both define the ‘what is’ as the principle of unity of opposites. While sharing this view, their proposals for its cultivation reveal similarities, but also some significant differences. The Daodejing gives the Daoist sage a major role to play in the cultivation process of other persons, as does Dewey for the teacher. However, unlike Dewey’s teacher who guides the process, the sage is to create a cultivating environment, thus allowing the sage to ‘let go.’ The Daoist practices offer new ideas to consider in the quest for experience in lessons. (shrink)

The term ‘naturalism’ is problematic in the current context since it comprises a set of very different philosophical traditions and thinkers. Some contemporary authors, such as David Papineau, have proposed grouping them according to two different components: the ontological component, which is concerned with the contents of reality; and the methodological one, which is concerned with the way of investigating reality. In general terms, John Dewey’s naturalism, the same as Perice’s and Rorty’s ones, has been defined as methodological. However, through (...) the analysis of the notion of living creature, this article attempts to show how Deweyan naturalism also needs to be understood from its ontological dimension. First, it deals with the different philosophical currents and authors which contribute to the evolution from the Deweyan term of organism to the living creature. Then, it outlines the continuity between the creature and its surroundings that affirms Dewey’s emergent ontology and the potential of this interaction. (shrink)

Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”.

Experiences in the heart is one matter and literary writing is another: Toegye, however, would rather regard the two as a completely unified process, which amalgamates an immanent quality and a literary style, without isolation between them. Toegye stressed and valued the purity of the first experience, i.e., the filtered and the purified in the heart, which would flow into the second experience and purify it as well, ultimately cultivating it into a_complete aesthetic experience. Poetry should be solely triggered by (...) positive emotions, being aesthetically clear and pure, with no extravagance inside. A plain and ordinary style of literary writing is thereby formed and is regarded as a natural access of transcendence to a philosophical, ethical, and aesthetic connotation which is pure, rich, and profound, ‘shaping to Sagehood’ in Confucianism. Emotion plays the role of a cementing force that unifies all these factors and sections for life aestheticization. (shrink)

Richard Rorty, in his ‘Consequences of Pragmatism’ (1982), acknowledging the pragmatic direction taken by both modern and postmodern philosophy, declared that ‘James and Dewey were not only waiting at the end of the dialectical road which analytic philosophy traveled, but are waiting at the end of the road which, for example, Foucault and Deleuze are currently traveling’ (Rorty, 1982, p. xviii). This paper does not aim to establish who traveled the farthest along the road posited by Rorty. Instead, its purpose (...) is to trace a common direction as a sort of pragmatic trajectory that will map a territory constituting Gilles Deleuze’s new image of thought, or rather as he put it, a thought without image. By addressing some of Deleuze’s ideas on thinking and learning, especially with regard to the problematics of sources of knowledge, this paper posits the convergence between his philosophical position and Dewey’s philosophy of education despite the two being seemingly separated by time, place and culture. The paper further shifts the focus from the factual knowledge to an experimental and experiential process of knowing and asserts the latter’s far-reaching implications for education as a developing and generative practice. (shrink)

This dissertation presents a philosophical inquiry into the concept of intelligence by reconstructing John Dewey’s theory of intelligence and investigating its educational implications. It presents three critiques of educational practices and theories that, from a Deweyan point of view, are built on misconceptions or oversimplifications of intelligence. While his theory of intelligence is primarily expressed in implicit terms, it offers a nuanced analysis of the sociality and contextuality of intelligence, questioning some of its traditional or mainstream conceptions. The reconstructed theory (...) presented in this dissertation implies that rather than holding onto the idea of individual intelligence, education might benefit from focusing on the social practices and contexts that enable intelligence. The contextuality of intelligence suggests that conceiving intelligence as something that can be universalized, abstracted, and then redistributed is problematic. Dewey’s theory also suggests that people are rich with experience-based contextualized intelligence. To make the most of this, education needs to provide people with a robust theory of knowledge and an aspiration to be informed about the world in multiple and diverse ways. Learning the habit and processes of different kinds of inquiries could benefit societies by contributing to creative and intelligent democratic problem-solving in the inevitably unknown contexts of the future. (shrink)

This article explores how De-sign can be utilized as a navigational trajectory toward the integration of cultural sensitivity and environmental sensibility. It affirms that intentionality makes it possible for human beings to make meaning of their world. Navigating through trajectories for the purpose of seeking desired outcomes is a reiterative de-sign process that is constantly adjusting pragmatically. Because de-sign outcomes are only invariant aspects of the unfolding process of synechism and palingenesia, every de-sign situation is a unique journey toward infinite (...) possibilities of creation. De-signers, as agents of intentional change, become envoys of meaning-making that can integrate cultural sensitivity and environmental sensibility. De-sign intentionality makes our trajectories move toward envisioning a meaningful reality, one that goes beyond the schism between culture and nature, between built environment and natural environment. Trajectories innate to the de-sign process transform us into not only lifelong-learners competent of questioning absolute knowledge but also changing agents capable of moving beyond merely being inquisitive, to being reflective, contemplative knowers, genuinely integrating all aspects of the great biosemiosphere. (shrink)

John Dewey was the foremost figure and public intellectual in early to mid-twentieth century American philosophy. He is the most academically cited Anglophone philosopher of the past century, and he is among the most cited Americans of any century. In this comprehensive volume spanning thirty-five chapters, leading scholars help researchers access particular aspects of Dewey’s thought, navigate the enormous and rapidly developing literature, and participate in current scholarship in light of prospects in key topical areas. Beginning with a framing essay (...) by Philip Kitcher calling for a transformation of philosophical research, contributors interpret, appraise, and critique Dewey’s philosophy under the following headings: Metaphysics; Epistemology, Science, Language, and Mind; Ethics, Law, and the Starting Point; Social and Political Philosophy, Race, and Feminist Philosophy; Philosophy of Education; Aesthetics; Instrumental Logic, Philosophy of Technology, and the Unfinished Project of Modernity; Dewey in Cross-Cultural Dialogue; The American Philosophical Tradition, the Social Sciences, and Religion; and Public Philosophy and Practical Ethics. (shrink)

The idea of moral progress is a necessary presupposition of action for beings like us. We must believe that moral progress is possible and that it might have been realized in human experience, if we are to be confident that continued human action can have any morally constructive point. I discuss the implications of this truth for moral psychology. I also show that once we understand the complex nature and the complicated social sources of moral progress, we will appreciate why (...) we cannot construct a plausible comprehensive action-guiding theory of moral progress. Yet while the nature and sources of moral progress consistently thwart many theoretical hopes, the idea of moral progress is a plausible, critically important and morally constructive principle of historical interpretation. (shrink)

Proceedings of the annual congress of the Finnish Philosophical Association in 2013. Theme: memory.

This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The. rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a (...) new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s. eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the. eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the. eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed. lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes. (shrink)

The development of a re-understanding or re-investigation of body pedagogy is currently prominent in the field of physical education and sport pedagogy. This goes for the learning of movement capability and health but also in relation to outdoor education. The latter a criticized area for having a one-size-fits-all approach to curriculum, with less attention to what to learn in OE, including aspects of everyday practices of being outdoors. The aim of this study was to explore students aged 15 years, and (...) their meaning making of being outdoors expressed in written stories about a favorite place. Two school year eight classes in a Swedish compulsory school situated in an area with high diversity participated. Through this theory-generated empirical study, written stories were explored as one way of evaluating students' meaning making of outdoor places. By using practical epistemology analysis to examine experience operationalized through aesthetic judgements attention is paid to the relation between the student and the situation. The analysis make it possible to discern a sense and meaning making of “being” outdoors as an embodied experience, as a relational whole of the self, others and the environment. Descriptions of aesthetic experiences were analyzed leading to dimensions of environing described as “calm and privacy,” “community and togetherness” and “feelings and senses.” A favorite place was by all students described as a very local and nearby place accessible in everyday life. The analysis generated understandings of feelings of “fulfillment” and different embodied experiences of what an encounter with an outdoor place or being outdoors could mean. Furthermore, how personal and diverse the meaning making place tends to be and how experience and habits contribute to the students' creation of microenvironments. Dimensions of environing become part of an embodied process. The analysis of the written stories calls for an alternative understanding of what OE can or should consist of. The findings encourage teachers and researchers to consider alternative understandings and practices of OE that highlight and educate students' overall embodied experiences and learning in OE and PE. (shrink)

In this article, I explore the music-in-becoming as a dialogue. The thesis of my inquiry is that during musical composition, the composer’s listening is marked by both activeness and receptiveness; actively structuring the sounding work, and receptively letting the work express itself as it takes its form. Composer and work merge in sudden moments of attunement, the sensation of coherence between the so-fare completed and the anticipation of the as-of-yet unformed work. Composition is all about balancing writing as a handicraft (...) with those rare, unexpected moments of attunement. I discuss the emerging work’s invitational character and the fact that during composition, the piece seems to request the composer’s attention. The audibility of the work’s voice depends on the composer’s ability to listen. Finally, the methodological considerations concerning sonic-artistic research show that researching sonic experiences requires competencies of being attentive, responsive, and reflective. Attentiveness is related to thorough listening experiences of the emerging music, responsiveness appears as a vital skill in a composer’s dialoguing with the music-in-becoming, and reflectiveness is associated with empirically documenting the processes. At the heart of this sonic research project, I place my lived experience of composing and the intimate relation between sound and listening. (shrink)

"[..] flowing with the waters, halting with the mountains. In the images of light and wind the ephemeral is inscribed. Time is part of space. The scene performs." -/- The essay "Chinese Landscape Aesthetics: the exchange and nurturing of emotions" by Claudia Westermann included in "New Horizons: Eight Perspectives on Chinese Landscape Architecture Today" introduces ideas of landscape in traditional Chinese thought. Following the etymology of the Chinese terms for landscape and recognizing that their conceptual focus is on the exchange (...) and nurturing of emotions, which is not captured by the English term 'landscape,' one may gain a new understanding of contemporary works of Chinese landscape architecture. (shrink)

Curiously, while the efficacy of the arts for the development of multicultural understandings has long been theorized, empirical studies of this effect have been lacking. This essay recounts our combined empirical and philosophical study of this issue. We explicate the philosophical considerations that shaped the development of the arts course we studied, which was grounded in rather traditional humanist educational thought, informed by Deweyan considerations for pedagogy and multiculturalism. We also provide an overview of the course and of the study (...) design: the ways in which the course worked to teach aesthetic theory through a combination of popular and canonical works, and the ways in which it sought to instill a sense of cross-cultural appreciation and solidarity among students through the inclusion of art from different cultures and generations. We then share our research findings and our return to the realm of philosophy to interpret them. Our postcolonial analysis incorporates emerging discussions of the arts as a tool for resistance and dialogue within the system of public education, and revisit and reconsider the very concept of education for pluralistic democracy. This approach problematizes traditional conceptions of pluralism, in which an attempt is made to dissolve difference in a common understanding, and instead advocates that works from among the contemporary popular arts and works drawn from the artistic “canon” alike must be considered and employed for their instrumental value to the educational process—especially for their ability to prompt an intersubjectivity that is accompanied by a heightened awareness of difference. (shrink)

This thesis argues that John Dewey’s theory of collective intelligence presents a unique critical social theory that escapes the dead-ends of Frankfurt School critical theory and speaks directly to the political situation faced today by academics and the public. In Part 1, Dewey’s critical social theory is argued to present a ‘method of democracy’ that proposes a form of ‘intelligent populism’ as the mode of collective action in contemporary ‘political democracies’. Part 2 applies the method of democracy to the contemporary (...) ‘problematic situation’ of neoliberalism in crisis. It is argued that ‘third-wave neoliberalism’ in the UK has turned to higher education as a solution to this crisis, seeking to redirect HE through the TEF, REF and KEF national performance management systems to the needs of a stagnating monopoly capitalist economy. Part 3 explores ways out of the current crisis based on Dewey’s theory of collective intelligence. Beginning with the institutional context of social theory today, Michael Burawoy’s theory of public sociology is reconstructed as ‘democratic sociology’ based on a practice of ‘co-inquiry’ with the public. While Burawoy argues that the ‘founding tension’ in sociology between professional and radical sociology can be resolved by establishing an ‘organic solidarity’ within the discipline, the analysis of marketisation presented in the thesis suggests that only by uniting with other academics and the public in the fight against neoliberalism can sociologists avoid co-optation. The method of democracy then provides the basis for a reconstruction of the academic profession on a model of ‘democratic collegiality’. Democratic collegiality in turn offers a solution to the contradictions in governance arising from marketisation, pointing to the ‘social co-operative’ as an ideal form for democratised universities. Finally, Corbynism is argued to be a ‘verification’ of Dewey’s hypothesis of intelligent populism, and the book concludes with an analysis of the Lucas Plan, which offers valuable lessons for activist-academics seeking to help realise this genuine alternative to neoliberalism today. (shrink)

This theoretical paper takes an agency-theoretic approach to questions of corporate social responsibility. A comparison of various extant frameworks focusses on how CSR agency emerges in complex multi-agent and multi-sector stakeholder networks. The discussion considers the respective capabilities and relevance of these frameworks – culminating in an integrative CSR practice model. A short literature review of the evolution of CSR since the 1950’s provides the backdrop for understanding multi-agent cross-sectoral stakeholder coalitions as a strategic determinant of today’s organizational behavior. The (...) paper turns to Werhane’s coupling of moral imagination and systems thinking and forging stakeholder coalitions in problem contexts that were traditionally deemed intractable by for-profit organizations. However, it identifies the problem that the systems approach treats macro-agents as given and shies away from more radically re-imagining the possibilities of reassembling agency from the bottom up. Actor Network Theory provides such a method, which strictly commits to treating organizational behavior as a product of technological, human and environmental micro-processes. ANT, however, is lacking a genuine moral deliberative stance in designing complex CSR coalitions. In an attempt to capitalize on the respective strengths of these frameworks the paper tends to a recent iterative series of “situational transactive” models that are rooted in the US pragmatist tradition and seek to capture intelligent planning processes in complex problematic contexts. The contribution proposes a new CSR practice model, which assigns specific roles to the theoretical contributions of ANT, system thinking and pragmatism in complex deliberation processes. This model can be industry-tested in a future study. (shrink)

Worldwide, the COVID-19 pandemic has forced people to adapt quickly, and to reexamine interactions and responsibilities toward communities in creative ways. This paper presents a qualitative media analysis of 50 online news articles published between March 17th and August 6th, 2020 using the key-words “creativity” and “COVID-19.” Informed by a definition of creativity as actions that are considered both “new” and “appropriate”, articles describing a “creative action” were kept for analysis. These articles highlight creative responses to the COVID-19 quarantine in (...) various domains including architecture, fashion, and faith. In this paper, we discuss the themes derived during this analysis- “renewal and continuity” and “the multidimensionality of creativity” which elaborate and contextualize a perspective of socio-cultural creativity theory and propose two implications of this study. The first implication posits that creativity was an observable, cultural response to the COVID-19 pandemic. The second implication offers a broader concept of how cultural resources function as dynamic constraints or “affordances” within the Five A’s model of creativity. Discussion of further research through the lens of socio-cultural creativity is discussed. (shrink)

This paper offers a genealogy of dialogic education, tracing its origins in Romantic epistemology and corresponding philosophy of childhood, and identifying it as a counterpoint to the purposes and assumptions of universal, compulsory, state-imposed and regulated schooling. Dialogic education has historically worked against the grain of standardized mass education, not only in its view of the nature, capacities and potentialities of children, but in its economic, political and social views, for which childhood is understood as a promissory condition. Dialogic education (...) is oriented to what Dewey called “a future new society of changed purposes and desires,” made possible by an emergent form of social character. It has followed its own developmental trajectory from its origins in Pestalozzi’s Rousseau-inspired innovations, through anarchist theory and practice and the Progressive Education movement, to its current most salient formulation in the Democratic Education movement, whether as an enemy within the gates of standardized education or as expressed in innumerable alternative forms of schooling or unschooling. The paper highlights several key characteristics, gleaned from all those forms, of the dialogic school—identified as intentionality, transitionality, emergence, aesthetic temporality, interdisciplinarity and group governmentality--and argues further that community of philosophical inquiry theory and practice as a form of post-Socratic group dialogue that emerged in the 1970’s, is a pedagogical praxis that offers a grand operational template for dialogic education as a form of schooling. (shrink)

This symposium provides five case studies of the ways that John Dewey's philosophy and practice were influenced by women or "weirdoes" (our choices include F. M. Alexander, Albert Barnes, Helen Bradford Thompson, Elsie Ripley Clapp, and Jane Addams) and presents some conclusions about the value of dialoging across difference for philosophers and other scholars.

Lindquist et al. convincingly argue that the brain implements psychological operations that are constitutive of emotion rather than modules subserving discrete emotions. However, the nature of such psychological operations is open to debate. I argue that considering appraisal theories may provide alternative interpretations of the neuroimaging data with respect to the psychological operations involved.

This paper is a conceptual essay rooted in two basic observations. First, felt dignity—the subjective sense people have of their own autonomy and self-worth—ultimately emerges from, and is thus most evident in the connective space between people. Second, stories are everyday works of art that afford unique insight into the subtle complexities of the socio-emotional realities of work. Building on these observations, we describe how personal stories about episodes of interpersonal connections and disconnections at work—moments in which we feel mutual (...) appreciation and empowerment or a sense of separation and distancing from another—can help us better understand the felt experience of dignity at work. In attending to such personal stories as art, we become more attuned to their felt, aesthetic qualities, which then helps us develop a more holistic and visceral appreciation of how actors experience, make sense of, and claim felt dignity. In support of our ideas, we present a few illustrative story excerpts and briefly consider how a select few aesthetic qualities—the way the stories’ elements are configured, the stories’ acuity or sharpness, and their rawness—enhance the felt impact of the stories and help to remind us of their and the storytellers’ intrinsic value. (shrink)

To understand the details of LI Zehou’s work, it is helpful to first locate it within the social and historical contexts to which Li was responding. Specifically, his work can be understood as a contribution to the struggle to establish the intellectual foundations of a Chinese modernity. As China transitioned away from the long-lived dynastic system that had ended early in the twentieth century, there was intense debate in China about what forms of social and political order should take its (...) place. Marxism emerged as the governing ideology after the Communist revolution, but this did not settle the outstanding social questions. In the period of liberalization that followed Mao’s death, intellectuals like LI Zehou emerged and found a new role. Instead of being tasked with providing justifications for state policy and the ruling ideology, they were free, to some extent, to explore new ideas that could inform policy and popular consciousness. LI Zehou duly became one of the most active and widely read of Chinese thinkers during the 1980s and 1990s, offering a humanistic vision of Chinese society. What made LI Zehou’s contribution distinctive was the willingness to draw from all these disparate frameworks, in an attempt to synthesize them into a unified system of thought. (shrink)

What happens when an object you take to be beautiful or aesthetically pleasing, no longer appears beautiful or pleasing when you learn something new about it? I am assuming a situation in which there is no direct change in the perceptual features of the object, and that what you learn is not the location of some new surface property but rather a bit of non-perceptual information. I classify episodes of dampened appreciation under the heading 'aesthetic disillusionment', and in this paper (...) I explore the relationship between such episodes and the broader issue of ethical constraints on aesthetic activity and appreciation. Does it make sense to say that one should not, or ought not, take pleasure in certain objects or events? I think it does – but in a very particular, almost ecological way. The subsequent discussion focuses on ethical constraints as they operate on the aesthetic appreciation of objects and events within the natural environment. (shrink)

The traditional sciences often bracket away ambiguity through the imposition of “enabling constraints”—making a set of assumptions and then declaring ceteris paribus. These enabling constraints take the form of uncritically examined presuppositions or “uceps.” Second order science reveals hidden issues, problems and assumptions which all too often escape the attention of the practicing scientist. These hidden values—precisely because they are hidden and not made explicit—can get in the way of the public’s acceptance of a scientific claim. A conflict in understood (...) meaning—between the scientist’s restricted claims and the public’s broader understanding of those same claims can result in cognitive dissonance or the equivalent of the Mori Uncanny Valley. Scientists often react to these differences by claiming “incommensurability” between their restricted claim and the public’s understanding. Second order science, by explicating the effects of variations in values assumed for these uceps and associated impacts on related scientific claims, can often moot these assertions of incommensurability and thereby promote greater scientific understanding. This article explores how second order science can address issues of public doubt regarding the scientific enterprise using examples from medicine, diet and climate science. (shrink)

In this essay I offer an alternative perspective on how to organize class material for courses in Chinese philosophy for predominately American students. Instead of selecting topics taken from common themes in Western discourses, I suggest a variety of organizational strategies based on themes from the Chinese texts themselves, such as tradition, ritual, family, and guanxi (關係), which are rooted in the Chinese tradition but flexible enough to organize a broad range of philosophical material.

Critical thinking is currently much celebrated in the contemporary West and beyond, not least in higher education. Tertiary education students are generally expected to adopt a critical attitude in order to become responsible and constructive participants in the development of modern democratic society. Currently, the perceived desirability of critical thinking has even made it into a seemingly successful marketable commodity. A brief online search yields a vast number of books that are mostly presented as self-help manuals to enable readers to (...) enhance their critical abilities. But how should critical thinking be taught? Is it at all possible? Instead of attempting to provide a direct answer to this pressing question, this paper seeks inspiration in a culturally rather remote philosophy of education that hitherto has not been regarded as a stimulant for critical thinking, namely the ancient philosophy of Confucianism. The paper argues that not only are most if not all types of thinking regarded in the West as ‘critical’ also present in Confucianism, but also that the Confucian philosophy presides over a particular type which increasingly tends to be neglected in the contemporary West; a type that I call ‘transformative self-critical attitude’. Through a comparison with the well-known Teaching Perspectives Inventory in higher education, the transformative self-critical attitude is used to elucidate some further aspects of the Confucian philosophy of education that may offer valuable insights to contemporary educators. (shrink)

Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at least in (...) part, through adoption of the appropriate perspective – or attitude – when considering a particular aesthetic object, Kant offers us perhaps the most sophisticated view of disinterestedness of any, and as he does so he solidifies that tradition, bringing it to its culmination, and ushers in the beginning of its end. (shrink)

The Spanish philosopher Gustavo Bueno coined the expression “substantive arts” to refer to those arts that do not serve any immediate, mundane or practical purpose. In this paper, I briefly present this idea and put forward a definition of the substantive arts as an alternative to those used until now. Starting from the assumption that since the end of the 18th century there has been a set of arts that have their own substantivity, I expound on certain criteria widely used (...) as distinctive features to define the substantive arts. I subsequently put forward an alternative intensional criterion to characterize the substantive arts. To end, I draw some corollaries following from the application of this criterion. (shrink)

In The Biosemiotic Fundamentals of Aesthetics: Beauty is the Perfect Semiotic Fitting Kull makes a foray into the concept of Beauty. His target article is a welcome contribution not only for providing a biosemiotic notion of beauty but also as a trigger for further enquiry into the matter. Additionally, Kull delivers a new concept: Semiotic Fitting, shining new light on the Umwelt theory. My commentary embraces the challenge Kull presents. Offering an alternate view on beauty, as a matter, and product, (...) of cognition, I suggest reflecting on the philosophy of Alexander von Baumgarten, who coined the term “aesthetics”, offers rich insight that could extend and enrich the definition of beauty Kull presents. (shrink)

One challenge faced by aesthetics is the development of an account able to trace out the continuities and discontinuities between general experience and aesthetic experiences. Regarding this issue, in this paper, I present an enactive model of some raw cognitive dynamics that might drive the progressive emergence of aesthetic experiences from the stream of general experience. The framework is based on specific aspects of John Dewey’s pragmatist philosophy and embodied aesthetic theories, while also taking into account research in ecological psychology, (...) cognitive sciences, and dynamic systems theory. The model focuses on dynamically relevant nodes at the pre-reflective and the reflective side of experience that would work as nested rhythmic constraints at different cognitive timescales with the potential to shunt experiences toward the aesthetic in everyday situations. My proposal constitutes a way to explore aesthetic experiences from an enactive perspective that regards them as transformative events in which cognitive processes entrain and are entrained by changes taking place in the environment, the brain, and the body. (shrink)

We agree with Carruthers that evidence for metacognition in species lacking mindreading provides dramatic evidence in favor of the metacognition-is-prior account and against the mindreading-is-prior account. We discuss this existing evidence and explain why an evolutionary perspective favors the former account and poses serious problems for the latter account.

This paper is divided into two sections. In the first section, I discuss "what is spirituality?" and in the section that follows, I examine some of the implications of my definition to the teaching of spirituality in an undergraduate business ethics course. For the purposes of this paper, spirituality is defined as the planned experience of blending integrity and integration through 1 - acceptance, 2 - commitment, 3 - reasonable choice, 4 - mindful action, and 5 -continuous dialog. This definition (...) is a work-in-progress and offered mainly as a point of departure rather than a final destination. (shrink)