This article, with those published here by Robert Innis and Richard Shusterman, is part of a symposium devoted to exploring critically new directions in, and for, pragmatism. Each symposiast takes up this task in the context of new books by the other two. Accordingly, I examine the ways in which _Pragmatism and the Forms of Sense by Innis and _Surface and Depth by Shusterman may advance commitments to pluralism (such that the books that speak to one person may not address (...) or be alive or be instrumental for another person); time and finitude (such that change, precariousness, and difference are ineliminable, and that theorizing is always situated and provincial); and, practice (such that beliefs are habits of meaning-full, meaning-giving, embodied action). I argue, following the lines of thought set forth in my _Pragmatism, Postmodernism, and the Future of Philosophy, that these commitments as well as the practice of philosophy are thoroughly political in two specified senses -- a point that signals the deflation of theory and marks the limit of philosophy -- the enabling limit of philosophy that is honest and self-critically political and politically critical. (shrink)

In responding to the three creative interpretive discussions in the symposium on my book Philosophy and the Art of Writing, this paper explores the different styles of philosophical discourse and their role in the practice of philosophy as a way of life that extends beyond the discursive and that combines self-cultivation with care for others in the ethical-aesthetic pursuit of living beauty. In advocating this aesthetic model of philosophical life over a purely therapeutic model, I suggest how the former can (...) incorporate the latter's concerns for spiritual health and liberation. In developing my response to the symposiasts while elaborating on the themes of my book, I consider issues of ineffability, creative performance, embodiment, truth, heroism, vulnerability, possession, art, spirituality, love, and liberation. (shrink)

Roberta Dreon - Richard Shusterman is one of the leading figures in the current field of pragmatist aesthetics and he has undoubtedly played a pivotal role in recovering a pragmatist approach to aesthetics. His book Pragmatist Aesthetics was simultaneously published in France under the title L’Art à l’état vif. La pensée pragmatiste et l’esthétique populaire in 1992, paving the way for a long awaited French translation of Dewey’s Art as Experience in 2010, beaut...

This article offers an alternative to classical hermeneutics, which focuses on discursive products and grasps meaning as the play of difference between linguistic signs. Pragmatist hermeneutics reconstructs meaning through an indefinite triangulation, which brings symbols, icons, and indices to bear on each other and considers a meaningful occasion as an embodied semiotic process. To illuminate the word-body-action nexus, the discussion identifies three basic types of signifying media: (1) the symbolic-discursive, (2) the somatic-affective, and (3) the behavioral-performative, each one marked by (...) a special relationship between signs and their objects. An argument is made that the tension between various type-signifying media is unavoidable, that the pragmatic-discursive misalignment is an ontological condition, and that bridging the gap between our discursive, affective, and behavioral outputs is at the heart of ethical life. (shrink)

Pragmatism is a humanist philosophy that tells an antifoundationalist and antirepresentationalist story of progress and emancipation. While most theoretical approaches since the 1960s have radically rejected the humanist legacy, in pragmatism a particular understanding of humanism has persisted. This persistence of humanism is of the utmost importance, since one can only grasp the unique contemporary significance of pragmatism when one appreciates how pragmatism, humanism, anti-authoritarianism, and postmetaphysics are interlinked, and how this link has gained in importance after the exhaustion of (...) antihumanist theories. This essay combines the endeavor to elucidate the idea of a pragmatist humanism with a discussion of the relationship between pragmatism and aesthetic form. The essay is divided into three parts. While the first part explains why pragmatism is a humanist philosophy, the second part discusses why most pragmatists have been unwilling to consider the significance of form. It develops the central idea that Dewey’s naturalist aesthetics does not offer a convincing conception of form. The final part advances the argument that a pragmatist humanism that refuses to historicize the concept of form and is reluctant to regard the act of form-giving as a kind of poetic agency weakens its own position. (shrink)

Less than an attempt to philosophically define anything, the following text should be read as a theoretical sketch to portray an artistic margin, which has not yet been much discussed, although it has been loosely touched upon as a side product of many other theoretical aspirations. Its name, ‘nobrow’, is borrowed from a use somewhat different from mine, but is accurate in pointing out that there is a dynamic position works of art can acquire when they use both high and (...) low for their own purposes, still not really belonging to either field of culture. I will begin by sketching the outlines of this phenomenon, and then try to shed some light on it through by means of some examples, and conclude by claiming, that it lives on our cultural situation, where high and low, even if they are not as rigid compartments of culture as they used to be, continue to exist and to affect us. (Opening paragraph.). (shrink)

After noting some conditions of historical and contemporary context that favor a dialogue between pragmatism and East‐Asian thought, which could help generate a new international philosophical perspective, this essay focuses on several themes that pragmatism shares with classical Chinese philosophy. Among the interrelated themes explored are the primacy of practice, the emphasis on pluralism, context, and flux, a recognition of fallibilism, an appreciation of the powers of art for individual, social, and political reconstruction, the pursuit of perfectionist self‐cultivation in the (...) art of living, and the crucial role of embodiment in this melioristic pursuit. The last section defends this somaesthetic emphasis against some likely criticisms and closes with an example of how occidental and East‐Asian somatic thinking can be productively integrated. (shrink)

This paper outlines a pragmatist aesthetic theory on the basis of themes relating to naturalism, metaphor, and solidarity found in Richard Rorty’s neopragmatism. A central part of this attempt is to show that some previous readings of Rorty’s work in aesthetics are misguided. I begin by raising aspects of Rorty’s work that have been previously largely overlooked in aesthetics and philosophy of art, and which I believe undermine particularly Richard Shusterman’s critical reading of Rorty. I shall then move on to (...) discuss the social role Rorty assigns to metaphors in his postmetaphysical liberalist culture and argue that the social and cultural view of art and the aesthetic Rorty’s philosophy of literature contains overlaps in some significant respects with some central points of John Dewey’s pragmatist aesthetics. I close by outlining some new set of issues for pragmatist aesthetics that emerge from the discussion of Rorty’s work presented in the paper. (shrink)

This article questions how contemplative contemporary cinema “sexualize” the landscapes. Through the filmography of four directors, Abbas Kiarostami, Apichatpong Weerasethakul, Lars von Trier and B...

In this essay I examine the contributions of the pragmatist tradition to the philosophy of ethnicity. From the pragmatist philosophies of Dewey and Locke I derive a reconstructive model for the clarification and improvement of the life experiences of ethnic groups. Addressing various problems and objections, I argue that this Deweyan and Lockean reconstructive model rejects any sharp separation between race and ethnicity and avoids the pitfalls of the biologist race paradigm and the culturalist ethnicity paradigm. I explore some of (...) the social and political implications of this reconstructive model through a discussion of José Martí's inspiring account of Hispanic identity. (shrink)

In this paper, I make the case that the tradition of pragmatism may usefully inform aesthetic criticism. To that end, I contrast the anti-essentialist outlook and the ethico-political concerns of neo-pragmatist philosopher Richard Rorty with the epistemological underpinnings of analytic aesthetics. The aim is to outline an alternative meta-theoretical perspective that ‘overwrites’ long-standing concerns with exactitude and objectivity. Drawing on examples from my own area of expertise, film, and television studies, I seek to explicitly set up aesthetic criticism, especially evaluation, (...) as a means of social progress and human flourishing within the framework of liberal democracy. (shrink)

This article focuses on the conventions that sustain social interaction and argues that they are central to Simon's decision-making theory. Simon clearly identifies two kinds of coordination by convention: behavioral mores that shape human actions, and shared mental models that govern human perceptions. This article argues that Poincaré–Carnap's conventionalism provides powerful support for Simon's theory; it contends that this theory offers a more convincing account of decision and coordination than Lewis' concept of convention. Simon's approach to applying conventionalist logic to (...) social interaction emphasizes the normative role played by mental models in solving coordination problems and considers rationality in terms of both cognitive and moral considerations. By connecting conventional phenomena to social identifications, Simon stresses the resulting complexity of coordination problems. (shrink)

In this essay I examine the contributions of the pragmatist tradition to the philosophy of ethnicity. From the pragmatist philosophies of Dewey and Locke I derive a reconstructive model for the clarification and improvement of the life experiences of ethnic groups. Addressing various problems and objections, I argue that this Deweyan and Lockean reconstructive model rejects any sharp separation between race and ethnicity and avoids the pitfalls of the biologist race paradigm and the culturalist ethnicity paradigm. I explore some of (...) the social and political implications of this reconstructive model through a discussion of José Martí's inspiring account of Hispanic identity. (shrink)

Philosophy of art presupposes differences between art and other cultural activity. Philosophers have recently paid more attention to this excluded activity, particularly to the range of cultural production known as popular art. Three issues have dominated these discussions. First, there is debate about the basis of the distinction. Some philosophers contend that fine art is essentially different from popular art, but others hold that the distinction is entirely social in origin. Second, philosophers disagree on the degree of continuity or discontinuity (...) that holds between fine and popular art. Third, there is controversy about the relative value of the two, and about the basis for the supposed superiority of fine art. (shrink)

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)

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)