Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

Charles Olson’s erudite poetry and prose have elicited discussions that emphasize sources he himself references or was known to consult. The present essay counters this trend by examining the importance of John Dewey’s concept of experience for understanding the largest stakes of Olson’s project. Although Olson is not known to have read Dewey or to have attended the lectures that became Art as Experience (1934), Dewey can be seen as the signal pragmatist precursor for Olson’s attempts to unite (...) art and experience in a more holistic model of culture than the hierarchical and alienated one that prevailed after World War II. Like Dewey, Olson emphasizes the importance of direct experience over received knowledge, values the rough, unpolished quality of vernacular creation over the normative esthetics of cultural institutions, believes in the pedagogical effectiveness of both experience and art, and sees artistic form as arising out of fully engaged experience. (shrink)

Charles Olson’s erudite poetry and prose have elicited discussions that emphasize sources he himself references or was known to consult. The present essay counters this trend by examining the importance of John Dewey’s concept of experience for understanding the largest stakes of Olson’s project. Although Olson is not known to have read Dewey or to have attended the lectures that became Art as Experience (1934), Dewey can be seen as the signal pragmatist precursor for Olson’s attempts to unite (...) art and experience in a more holistic model of culture than the hierarchical and alienated one that prevailed after World War II. Like Dewey, Olson emphasizes the importance of direct experience over received knowledge, values the rough, unpolished quality of vernacular creation over the normative esthetics of cultural institutions, believes in the pedagogical effectiveness of both experience and art, and sees artistic form as arising out of fully engaged experience. (shrink)

Abstract:In this paper, I offer my reading of John Dewey's Art as Experience and propose implications for music education based on Dewey's ideas. Three principal questions guide my task: What are some key ideas in Dewey's theory of art? How does Dewey's theory of art fit within his larger theory of experience? What are the implications of Dewey's ideas for music education? As I shall show, art for Dewey is rooted in nature, civilizes humans, serves as social glue, (...) and has an important role in society throughout most of human history. Modern life, however, separates art and life; there is a need to restore the continuity between art and the ordinary processes of living, a task that Dewey undertakes by positing the notion of art as experience. Dewey's ideas support an expanded curriculum in music education, one in which popular music may be included alongside Western classical music and music from diverse cultures. However, artistic and educational discernment are needed, which necessitates the need for music educators to be sufficiently steeped in varied musical traditions and styles. (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)

Dewey's "Art as Experience" defends the view that art and life are a y. But his version of this view exhibits an ambiguity, arising from his ency to move back and forth in the text between two usages of "art". These usages allow for two different interpretations of the theme of the unity and life: an "aesthetic" interpretation emphasizing the uniqueness of the arts as instrumentally valuable sources of aesthetic and ummatoryexperience, and an "aestheticist" interpretation emphasizing the ence of (...) such experience not only in the fine arts but throughout the trum of intelligent practice. Are these interpretations necessarily in ion, or can we read them as part of a single consistent argument about the re of art in Dewey's text? I arguethat we can, but to do so we need to dialectically, and with a glance toward a figure whose influence on Dewey nderappreciated in the recent literature: Hegel. (shrink)

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’s Art as Experience. The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking (...) to discover what poetic writing does within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life. (shrink)

The purpose of this paper is to consider Dewey’s influence on American artistic culture between the nineteen-twenties and the nineteen-fifties by focusing on the social and political implications of his approach to art in terms of experience. This entails recapturing, in a concise form, the impact of Dewey’s thought on the development of the Federal Art Project and on Abstract Expressionism. On the basis of the pragmatist assumption that the soundness of a theoretical proposal is to be measured according (...) to its capacity to meet the difficulties arising in our everyday interactions, the present paper systematically examines the theoretical implications of Dewey’s aesthetics in the light of the historical consequences of a specific cultural policy. Dewey’s conception of art and aesthetic experience appears to have made a decisive contribution by providing new opportunities to enjoy the arts and by widely promoting practices with the potential to be aesthetically satisfying. Dewey’s ideas actually led to an undermining of the hierarchy between the fine arts and crafts, between popular culture and design, etc. More problematic are their connections with questions of cultural identity and of art market. Dewey’s influence on the Abstract Expressionists is evident in the way it shifted the artistic focus from art objects toward the experiential dimensions of artistic practices. Some problems regard the accessibility of this kind of works for a general audience and a certain reinforcement of the conception of the artist as creative genius, included the related interpretation of artistic creation as extreme subjective expression. (shrink)

_Art as Experience _evolved from John Dewey’s Willam James Lectures, delivered at Harvard University from February to May 1931. In his Introduction, Abraham Kaplan places Dewey’s philosophy of art within the context of his pragmatism. Kaplan demonstrates in Dewey’s esthetic theory his traditional “movement from a dualism to a monism” and discusses whether Dewey’s viewpoint is that of the artist, the respondent, or the critic.

Imagining Dewey' features productive (re)interpretations of 21st century experience using the lens of John Dewey's 'Art as Experience', through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art and agonist pluralism.0There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of (...) how educators, artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience.00Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, Maria-Isabel Moreno-Montoro, Maria Martinez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leisa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marin Viadel, Sean Wiebe, Li Xu and Martha Patricia Espiritu Zavalza. (shrink)

The article aims to demonstrate to what extent the work Art as Experience by the American philosopher and pedagogist John Dewey, a proponent of pedagogical activism, may have contributed to Loris Malaguzzi’s thought and the Reggio Emilia Approach. Starting from the idea of an aesthetic experience as a privileged means of knowledge, the comparison between the two authors continues through reflections on the relationship between art-community and art-ethics. The dialogue between these important educational approaches is proposed in order (...) to highlight their relevance and the role they could play in today’s schools thanks to the concept of knowledge based on the senses and on doing, contributing to the sensitisation of educational action towards the social aspect of art, both as an opening towards the community, and as a reflection on the values of the human being. The dialogue between these two important educational approaches is proposed in order to highlight their relevance and the role they could play in today's schools thanks to the concept of knowledge based on the senses and on doing, contributing to the sensitisation of educational action towards the social aspect of art, both as an opening towards the community, and as a reflection on the values of the human being. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. (...) Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Jenkins' view is of the contextualistic order. Aesthetic experience is concerned with the vivid perception of the quality of a situation or thing. The novel feature in Jenkins' view is the stress he gives to the biological importance of this sort of experience to man. He refers to the biological account of man's adaptive success in the course of evolution, due to his highly developed intelligence --to his capacities for learning in the face of problematic situations. Jenkins then (...) notes the biological significance of consciousness in giving a discriminating, vivid perception of a problematic situation towards a solution of its tensions. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate (...) the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

The Original Work Presents A Totally New Methodology For Understanding The Concept Of Aesthetic Experience Through The Medium Of Dialogue A Dialogue Between The Subject And Object, I And Thou.

Abstract:The idea of risk, of the willingness to be exposed to the possibility of total failure, is a core value of Adorno's philosophical and aesthetic modernism. This willingness to be exposed to risk is also a quality that Adorno associates most strongly, in aesthetics, with Deweyan pragmatism. Against tendencies to assume an irreconcilability of critical theory and pragmatism, this essay ventures that an appreciation of Adorno's acknowledgement of Dewey in his Aesthetic Theory would mean considering that it is in Dewey (...) that Adorno might have found the closest exemplar of the dialectical, experimental freedom that he desired for his aesthetics. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_ (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or (...) negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ‘is sport art?’ and ‘are aesthetics implicit to sport?’, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, I will (...) argue that embodying pragmatic conceptions of art as its ideal metaphor re-opens space to best realize the deep potential of sport as a meaningful human practice. (shrink)

A democracy is more than a form of government; it is primarily a mode of associated living, of conjoint communicated experience.in this short excerpt, John Dewey expresses the pragmatist conviction—first stated by Jane Addams in Democracy and Social Ethics—that a society must cultivate dispositions of curiosity and understanding between its diversely situated members in order to sustain a robust and genuine democracy. It is by our habitual exposure to the experiences of our fellow citizens that we can imagine and (...) understand each other’s diverse situations, struggles, and needs. In enabling such imagination and understanding, we create the possibility of fairly incorporating these diverse perspectives into... (shrink)

In this paper I am proposing to investigate some possible connecting points between art, aesthetics and the urban experience, more precisely how the perception and experience of the city as well as the features of urban life can inspire artists. At the same time, I am also curious how artworks can be used to understand this urban experience, as well as how they can be interpreted as not only simple descriptions and depictions, but also as active contributions (...) and modes of suggesting solutions to the most pressing issues of contemporary cities and of city life. Hence my primary aim is discussing some approaches towards the aesthetic analyses of urbanity through modern and contemporary examples. In this way I am focusing less on how the city appears as a mere motive in artworks, or how it is used as main object or background element indicating the context in representations; and I am also not aiming to provide a survey analyses of the numerous ideas of the aesthetics of urbanity. Instead of these, here I am concentrating on how urbanity and the experiencing of the city in itself as well as its multifaceted aspects can become a source of inspiration and at the same time a critically analysed subject, i.e. a concept that is examined through the work itself. (shrink)

Introduction. Activist philosophy and the occurrent arts -- The ether and your anger toward a speculative pragmatism -- The thinking-feeling of what happens putting the radical back in empiricism -- The diagram as technique of existence ovum of the universe segmented -- Arts of experience, politics of expression In four movements. First movement. To dance a storm -- Second movement. Life unlimited -- Third movement. The paradox of content -- Fourth movement. Composing the political.

The paper is one of the four central texts where Clifford Geertz summarized his ideas. Geertz suggests an understanding of art as a social phenomenon and gives a social anthropological account of aesthetic experience. In opposition to structuralism, which analyzes art as a closed sign system developing according to its inherent logic, and to radical functionalism, which attempts to study art as if its main function was to maintain established institutions of culture, Geertz proposes to view a work of (...) art as a symbolical expression of the significant experience of its creator. In this case the ability of aesthetic perception of the work of art is treated as the ability to recognize the symbols it contains — the ability that results from involvement in the relevant cultural practices. Author illustrates his argument by the examples from the studies of that time: studies of Abelam tribe of New Guinea, Yoruba people of Western Africa, Quattrocento Italia, and modern Morocco. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are (...) essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are (...) essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 61-73 [Access article in PDF] Free Words to Free ManifestaSome Experiments in Art as Gift Sal Randolph Free Words It began this way. Standing nervously in a bookstore, in front of the section on literary theory, hidden from the eyes of the staff, I reached my hand into my bag like a thief and pulled out a hot pink book. I looked up (...) and down the aisle. No one was watching. O.K., now. I slipped it into the shelf among the F's (file under Free) and it was done.So I began my career as in infiltrator of public spaces, a thief not of books but of shelf space, of access. A bypasser of gateways, permissions, and procedures.The book was called Free Words, and was an art project of mine. Its content was a list of 13,000 words I had collected over ten years. I had uncopyrighted the text, placing it in the public domain (no rights reserved), and labeled the book as free. No price tag, no barcode, no ISBN. The back cover said only "this book belongs to whoever finds it." I had printed 1,000 copies of it, and the idea was to create a kind of situation.Someone who came across the book would have to decide what it was and who really owned it. If they wanted it, they would have to decide whether to walk out with it like a shoplifter, or whether to negotiate something [End Page 61] with the sales clerk. Bookstores would have to either purge the book or harbor it. There was a brief explanation and a web address at the back of the book, and if anyone made it to the site there was an invitation to become a distributor of the book, to join in the process of placing it in bookstores and libraries.I spent a few months like that as 2001 came to a close: October, November, December; walking through a New York stunned by September 11, developing the habit of nonobedience. 1 This was the time when the media was telling us to shop, when we were being told to agree,as if agreement and shopping were the definition and extent of our citizenship.At first I was nervous, afraid of being stopped, but after a couple hundred books I relaxed. I was never questioned. The more I did it, the more the commercial space of the city seemed like public space, my space. The city, recovering month by month, felt more like an ecology—a human social ecology, intricate and interdependent. There were more ways of living within it and participating in it than I had supposed.One of the questions raised by cities is who we are in them. How do we find ourselves as individuals, as agents? What kinds of citizenship are possible? Something about this project changed my relationship to the city from being a passive inhabitant of its structures, both social and architectural, to being more active, as I began to feel free to engage those structures more playfully, and to create new structures.As the winter deepened, the Free Words project began to develop in a surprising way. On the website I invited people to become volunteer distributors of the book. I expected that a small number of people would find their way from the book to the website and an even smaller number of those might become distributors. What happened was something quite different: a few people did find the book and the website, but they weren't all interested in simply becoming distributors themselves. Some of them told the story of Free Words on various online forums, journals, and blogs, passing it on through their internet communities. Dozens of people who had never seen a copy of the book found their way to the site, and I began shipping batches of books to volunteers all over the country and the world. I printed more, and then more again.For me the project became like a kind of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 61-73 [Access article in PDF] Free Words to Free ManifestaSome Experiments in Art as Gift Sal Randolph Free Words It began this way. Standing nervously in a bookstore, in front of the section on literary theory, hidden from the eyes of the staff, I reached my hand into my bag like a thief and pulled out a hot pink book. I looked up (...) and down the aisle. No one was watching. O.K., now. I slipped it into the shelf among the F's (file under Free) and it was done.So I began my career as in infiltrator of public spaces, a thief not of books but of shelf space, of access. A bypasser of gateways, permissions, and procedures.The book was called Free Words, and was an art project of mine. Its content was a list of 13,000 words I had collected over ten years. I had uncopyrighted the text, placing it in the public domain (no rights reserved), and labeled the book as free. No price tag, no barcode, no ISBN. The back cover said only "this book belongs to whoever finds it." I had printed 1,000 copies of it, and the idea was to create a kind of situation.Someone who came across the book would have to decide what it was and who really owned it. If they wanted it, they would have to decide whether to walk out with it like a shoplifter, or whether to negotiate something [End Page 61] with the sales clerk. Bookstores would have to either purge the book or harbor it. There was a brief explanation and a web address at the back of the book, and if anyone made it to the site there was an invitation to become a distributor of the book, to join in the process of placing it in bookstores and libraries.I spent a few months like that as 2001 came to a close: October, November, December; walking through a New York stunned by September 11, developing the habit of nonobedience. 1 This was the time when the media was telling us to shop, when we were being told to agree,as if agreement and shopping were the definition and extent of our citizenship.At first I was nervous, afraid of being stopped, but after a couple hundred books I relaxed. I was never questioned. The more I did it, the more the commercial space of the city seemed like public space, my space. The city, recovering month by month, felt more like an ecology—a human social ecology, intricate and interdependent. There were more ways of living within it and participating in it than I had supposed.One of the questions raised by cities is who we are in them. How do we find ourselves as individuals, as agents? What kinds of citizenship are possible? Something about this project changed my relationship to the city from being a passive inhabitant of its structures, both social and architectural, to being more active, as I began to feel free to engage those structures more playfully, and to create new structures.As the winter deepened, the Free Words project began to develop in a surprising way. On the website I invited people to become volunteer distributors of the book. I expected that a small number of people would find their way from the book to the website and an even smaller number of those might become distributors. What happened was something quite different: a few people did find the book and the website, but they weren't all interested in simply becoming distributors themselves. Some of them told the story of Free Words on various online forums, journals, and blogs, passing it on through their internet communities. Dozens of people who had never seen a copy of the book found their way to the site, and I began shipping batches of books to volunteers all over the country and the world. I printed more, and then more again.For me the project became like a kind of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 114-121 [Access article in PDF] Art as Part of Daily Life - A Cross-cultural Dialogue between Art and People If encounters with art and artists become part of daily life in a small rural community, and if aesthetic experiences are perceived by its local residents as part of their daily lives, what kinds of humanistic, cultural, and social change take place in (...) the community and in the people involved? By living together in a residential community, and by showing and sharing the process of art making, to what extent can aesthetic, cultural, and social issues and concerns expressed by artists be interpreted by local residents? These are the main issues addressed in this essay. 1 The artistic and aesthetic education provided in the community gradually opened up a dialogue not only between foreign artists as guests and Japanese spectators as hosts, but also between art and people, culture and culture, and people and people within the local community. Outline of the Project The Cultural Exchange House, situated in Yamaguchi prefecture, has accommodated about forty artists-in-residence from abroad for over ten years. The forty artists who have stayed there include painters, potters, sculptors, photographers, pianists, musicians, composers, poets, and writers. Artists are responsible for their travel and living expenses. The use of the house is provided without charge and the needs of the artists are met by volunteers. About half of the artists have been German and the rest from Britain, Belgium, United States, Holland, and Australia. Male and female artists have been nearly equally represented.Beginning with three, there are now sixteen volunteers who felt that the creation of a cultural environment, or more specifically the creation of access to the world of art was important for the community. They saw the need for the local community to provide children and adults with aesthetic experiences that could enrich their internal and external worlds. Increasing numbers of children were leaving the community to attend schools and get jobs, with little possibility of returning. The volunteers felt that one of their roles was to educate children and their parents so that they could encounter values different from their own, develop self-confidence, and take pride in the local community which had such cultural opportunities. They assumed that art could open people's minds to the world outside their existing cultural framework, and that it would be valuable to have artists from the outside world as their neighbors and friends. [End Page 114] Benefits of the Project There are already extensive formal grants available to foreign artists in cities such as Tokyo, Nagoya, and Osaka. However, the people who came to Yamaguchi said that they were especially attracted to life in a rural community; they hoped to experience the "real life" of the Japanese. Since the projectcould offer no grants for travel and other daily expenses, the communitydecided that they had little hope of attracting well-known artists. Instead, they invited younger lesser-known artists with potential, who did not mind the limited conditions and who welcomed a new cultural experience which might stimulate or broaden their approach to art. The contract stated that the artists should participate in cultural exchange programs, such as visiting schools and community centers to hold art workshops, and also, at the end of their stay, to share their experiences of the residency in the form of an exhibition or a concert. The degree to which this contract was kept varied. In general, the artists fulfilled the local people's expectations by holding workshops with children and adults, and did not mind having concerts in the town gymnasium or exhibitions at the community center. Foreign artists had an opportunity to reflect in a quiet environment and further their art. They were also stimulated by the encounter with the culture and people, and felt at home in the Cultural Exchange House.The house is relatively large with more than ten rooms; a dining room,kitchen, toilet, an outside bathroom, a separate studio space, and a... (shrink)