In this paper, we provide a pragmatist conceptualization of affective habits as relatively flexible ways of channeling affectivity. Our proposal, grounded in a conception of sensibility and habits derived from John Dewey, suggests understanding affective scaffoldings in a novel and broader sense by re-orienting the debate from objects to interactions. We claim that habits play a positive role in supporting and orienting human sensibility, allowing us to avoid any residue of dualism between internalist and externalist conceptions of affectivity. We provide (...) pragmatist tools for understanding the environment's role in shaping our feelings, emotions, moods, and affective behaviors. However, we contend that in addition to environment, the continuous and recursive affective transaction between agent and environment are also crucially involved. We claim that habits are transformative, which is especially evident when we consider that emotions are often the result of a crisis in habitual behavior and successively play a role in prompting changes of habits. The final upshot is a conceptualization of affective habits as pervasive tools for feelings that scaffold human conduct as well as key features in the transformation of behaviors. (shrink)

It is well known that John Dewey was very far from embracing the traditional idea of cognition as something happening inside one’s own mind and consisting in a pictorial representation of the alleged purely external reality out there. His position was largely convergent with enactivist accounts of cognition as something based in life and consisting in human actions within a natural environment. The paper considers Dewey’s conception of cognition by focusing on its potential contributions to the current debate with enactivism. (...) It claims that Dewey’s anti-substantial, continuistic, and emergentistic conception of the mind as a typically human conduct pulls the rug out of the idea of cognition as representation, as well as pushes the current discussion towards a serious reconsideration of representationalist assumptions about conceptuality and language. The paper emphasises that Dewey—differently from enactivists—frames the role of cognition within experience: he argues that cognition concerns those intermediate phases of our experiences of the world which are characterised by an indeterminate or troubled situation, because he claims that human beings’ interactions with their own environment are qualitatively richer and broader than cognition, including as they do many different and intertwined modes of experience. Finally, the author suggests that a coherent development of Dewey’s lines of thought should avoid rigid distinctions and hierarchies between lower and higher degrees of cognition in humans, which are still maintained in certain forms of radical enactivism. Differently, we should consider the impact of the cultural and broadly linguistic configuration of the human–environment even on perception, motor action, and affective sensibility. (shrink)

The first work to offer a comprehensive pragmatist anthropology focusing on sensibility, habits, and human experience as contingently yet irreversibly enlanguaged.

This chapter reconstructs the classical pragmatists’ position on human emotions, by assuming an original inquiring approach. It considers James’s, Dewey’s and Mead’s conceptions as contributions to an open theoretical laboratory in which the suggestions and unresolved difficulties presented by James were first discussed and developed by Dewey and then, immediately afterward, reconsidered and further articulated by Mead. At the same time, the paper develops a constant comparison with current contributions on this subject, coming from the most advanced trends in so-called (...) “4E cognition” studies. The chapter highlights some of the most relevant theses derived from the pragmatist debate, such as the continuity between bodily and mental aspects, as well as emotion and cognition, sensitiveness and appraisal. It shows the possibility of articulating this discourse by distinguishing between emotions and the pervasive aesthetic, qualitative and affective aspects of our experience. Furthermore, it focuses on the social dimension of emotions conceived as basic forms of gestural communication. Many interesting convergences are emphasized that derive from the abovementioned comparison, while Mead’s insight into a primary social configuration of emotions is presented in its enduring relevance for current inquiries in affective neurosciences. (shrink)

This paper reconstructs the merits of John Dewey’s conception of language by viewing it within the context of communication as the act of making something in common, as social and instrumental action. It shows that on the one hand this approach allows us to avoid the problems of the linguistic turn: the self-entanglement of language, the overemphasizing of language at the expense of the plurality of our world experiences, and the unquestioned, but sterile, supremacy of interpretation. On the other hand, (...) the paper supports the thesis that Dewey’s perspective on language does not produce a new form of foundationalism – according to which language itself is founded on experience, liable to be independently designated – by providing some arguments to interpret the relationship between language and experience in non-contrastive ways. In particular, the essay suggests a non-dualistic interpretation of the distinction between immediate qualitative experience and language, that is knowing in actu, by arguing that language cannot be reduced to the ordered discourse of inquiry since it also structurally includes qualitative and aesthetic aspects. (shrink)

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on (...) Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past. (shrink)

§1 According to the paradigmatic formula offered by Kant, the philosopher’s task consists of demonstrating “how we ought to think” as opposed to “how we do think” – that is, logical rules or norms must be separated from the functioning principles of the human mind or from psychological laws. As it is well-known, in the “Preface” to the second edition of the Critique of Pure Reason, the German philosopher stands against “some moderns” who “have thought to enlarge” logic “interpolating psycholo...

Este artigo sustenta uma leitura do capítulo “Stream of Thought” em The Principles of Psichology segundo o qual William James não formulou uma ideia de significados linguísticos como sentimentos privados que ocorrem dentro da mente do falante, ao contrário, criticava o hábito de, basicamente, considerar a linguagem como uma associação de nomes, devido às consequências ilusórias dessa suposição ao nosso entendimento do pensamento como resultante, principalmente, da soma das suas partes discretas. James sugere a possibilidade de adoção de uma abordagem (...) diferente da linguagem por considerar seus aspectos contínuos, relacionais ou transitivos, em vez de focar exclusivamente nos elementos substantivos. Ele parece convidar seus leitores a adotar uma atitude voltada para a linguagem complementando sua própria visão holística do pensamento como relações contínuas e envolventes. A autora explora a afirmação de que James considerava duas atitudes diferentes para a linguagem : uma abordagem mais crítica e uma disposição que está atenta à dinâmica, contextual e formação corpórea do significado das palavras. Esta leitura baseia-se na ideia, bem como outras, de que The Principles teve uma influência positiva em Wittgenstein, em vez de uma mera crítica—uma interpretação sustentada por um grupo de estudiosos recentes. (shrink)

In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...) in Margolis' aesthetics essays from the late 1950s to the 1970s: the type-token pair and the notion of cultural emergence. On the one hand, we will emphasise Margolis' indebtedness to Peirce's first formulation of the type-token distinction, involving a strong interdependence between the two elements of the pair, as well as an anti-essentialistic, historicised, and contextualised notion of type. On the other hand, we will delve into Margolis' exploration of the concept of emergence and cultural emergence, involving a genuinely pluralistic view of ontology, as well as a non-reductive, continuistic form of naturalism. Finally, we will connect the criticism of the so-called closure of the physical world with Margolis' anti-autonomistic stance in defining artworks. (shrink)

In this paper, I present the idea of “enlanguaged experience” as a radicalization of the Pragmatists’ approach to the continuity between language and experience in the human world as a concept that can provide a significant contribution to the current debate within Enactivism. The first part of the paper explores some new conceptual tools recently developed by enactivist scholarship, namely linguistic bodies, enlanguaged affordances, and languaging. In the second part, the notion of enlanguaged experience is introduced as involving two main (...) interrelated ideas. The first is the idea that human experience is contingently, yet irreversibly, embedded from each person’s birth within contexts made up of linguistic practices that contribute to continuously redefining what happens. Consequently, the development of individuals’ motor, perceptual, affective, selective, and cognitive capacities does not take place in a silent vacuum, but in a context of linguistic practices that are already there: such practices already operate in, and are shared by, the human groups in which individuals begin their experiences. The second key idea is that enlanguaged experience implies the claim that humans primarily meet language as part of their experience of the world, rather than as an independent system of words and grammar. In the third part of the paper, I argue that the conception of human experience as enlanguaged can fruitfully contribute to the enactivist debate, particularly with reference to three main points: firstly, the idea of a circular continuity, which is to say the claim that the advent of language in human life caused a re-configuration of previously existing forms of sensibility both ontogenetically and phylogenetically; secondly, an ecological view of language, according to which humans find themselves embedded in already operating linguistic practices and habits that are a constitutive part of their naturally social world; and, thirdly, a richer view of language “in the wild”, capable of retrieving the qualitative, affective, or aesthetic components of human enlanguaged experience. (shrink)

Introduction to the Special Issue "Varieties of Immediate Experience: Between Wittgenstein and Pragmatism".

In this paper we investigate some important trends in contemporary naturalist aesthetics in relation to two decisive issues. Firstly, it is important to explicitly clarify what kind of naturalism is at stake within the debate, more specifically whether an account of the topic involves forms of physical reductionism, emergentism, and/or continuistic views of art and culture with nature. Secondly, we argue that it is necessary to define what conception of art is assumed as paradigmatic: whether this conception deals with basically (...) autonomist approaches to art, assuming aesthetic experience to coincide with the disinterested contemplation of formal features, independently of cognitive, practical, and ethical implications, or whether the arts are considered an enhancement of the features of human expe- rience and developments of other human behaviours. The second part of the paper will investigate some recent developments in current neuroaesthetics and fresh enactivist proposals in the aesthetic field which display a tendency toward a non-reductive naturalism, views of the arts as continuous with other modes of behav- iour and more conscious attitudes about the risks of scientism within scientific in- vestigations. Generally speaking, we espouse an idea of culture as the natural development of human organic experience that involves new emerging properties depending on the re-organization of already existing natural resources and favour continuistic and emergentist views as more suited to dealing with specific prob- lems in the field of the arts and as better responding to the criticism of irrelevancy directed against the latter, compared to reductive naturalist approaches. (shrink)

Are there any theoretical resources – conceptual, lexical or argumentative ones – in the interdisciplinary debate on the evolutionary origins of the arts that can help us go beyond the traditional autonomistic conception of art, in favour of a more continuist and inclusive interpretation of human artistic practices? The paper examines the different voices in the debate, against the background of a cultural naturalist attitude inspired by John Dewey, by focusing on those contributions which can be interpreted in non-reductionist, anti-foundationalist (...) and pluralistic terms. What are particularly valuable are those positions emphasizing the phatic, communicative dimension of artifying behaviours in connection with the acute structural exposure of human organisms to their natural and naturally social environment. (shrink)

This paper considers some thesis proposed by Maurice Merleau-Ponty during his lessons on sleeping and dreaming in the mid fifties, also with reference to the contemporary scientific debate. Dreaming and sleeping constitute a privileged perspective for considering the characteristic human interweaving of natural and cultural aspects, of animality and meaning. The immediate association of sleeping with a suspension of consciousness and with an absence of worldly contacts seems problematic. Furthermore the dualistic opposition between conscious activity and bodily passivity seems far (...) less obvious. Besides it appears as not taken for granted that human acting and experiencing could be always considered as first person's phenomena. (shrink)

Le livre de Pierre Steiner, Désaturer l’esprit. Usages du pragmatisme, publié l’année dernière par la maison d’édition Questions Théoriques, se démarque par la richesse de ses discussions des auteurs et des thèmes au cœur du débat philosophique contemporain. Les analyses, jamais superficielles ni surchargées, sont toujours pertinentes et approfondies. Les quatre philosophes qui font l’objet des discussions les plus intenses constituent différents modèles de compréhension du pragmatisme: on pa...

Joseph Margolis has died on Monday, 2021 June 8th. He has been a member of the scientific board of the European Journal of Pragmatism and American Philosophy since the very beginning. The board as a whole joins his family and friends in mourning his death. Joe gave a unique contribution to the Pragmatist community: his intellectual lucidity, his capacity to overcome traditions and disciplinary divisions, his independence of judgment, and his brave anti-dogmatism will last as a model for us a...

This paper considers Joseph Margolis’ aesthetics as an insightful way to draw a critical balance on the whole venture of defining art, with a crucial reference to Wittgenstein’s legacy. The point of departure is Margolis’ claim that the whole definition debate began with a misinterpretation of Wittgenstein’s teaching, whose meaning would not consist in denying any definition of art, but rather in refuting the possibility of giving one only, clear and distinct as well as context-independent definition of it. The chapter (...) moves on to reconsider Margolis’ first definition of works of art as physically embodied and culturally emergent entities by focusing both on its significance within the analytic debate and on those features leading him beyond the question “What is art?”, towards a philosophy of culture and philosophical anthropology. To understand art, we need to address the question of the relation between a cultural form of life and the nature of persons or selves taking part in it. Hence, we are compelled to broaden the margins of the definition and the question arises of whether it is still worthwhile to speak of a philosophical definition of art beyond the everyday usage of the term “definition”. (shrink)

Pragmatist Aesthetics was published in 1992, by now twenty years ago. Through his book Richard Shusterman was able to revitalize a debate in the aesthetic field, which tended to stagnate. But its claims, implications and consequences went beyond the narrow limits of aesthetics, understood as philosophy of art according to a traditional modern approach. His reinterpretation of pragmatist aesthetics, expressly derived from Dewey’s work, was able to show not only that those defining anxieties ch...

Merleau-Ponty. Une conception de l’empathie non centrée sur le sujet?Cet article étudie l’émergence du terme « empathie » dans les textes de Merleau-Ponty. Il souligne que le concept n’est pas avant tout présenté comme une catégorie épistémologique, remettant en question si et comment nous pouvons éventuellement connaître les autres. Au contraire, il est conçu comme une catégorie ontologique, pour dire notre appartenance à une nature commune. De ce point de vue, il propose une façon sensible pour comprendre les autres, basée (...) sur une proximité et un partage physiques.Mais, avec des références à l’actuel débat, le texte suggère que, dans les réflexions du phénoménologue français, il est possible de trouver un paradigme qui n’est pas centré sur une conception subjective de l’empathie – c’est a dire qu’il s’agit d’un paradigme qui ne suppose pas toujours une projection subjective de ma sensibilité sur celle des autres. Plutôt, il peut à la fois consister en un sentiment commun, prépersonnel, qui constitue l’arrière-plan de nos sensibilités conscientes, et aussi proceder de l’autre être humain à moi, alors que souvent je sens et comprendre moi-même par differentiation des autres personnes, qui s’imposent sur mes sentiments et sur mes mots.Merleau-Ponty. A Conception of Empathy not centered on the Subject?This paper investigates the emergence of the term “empathy” in Merleau-Ponty’s texts. It points out that the concept is not primarly introduced as an epistemological category, questioning if and how eventually we can know the others. On the contrary it is meant as an ontological category, in order to say our belonging to a common nature. From this point of view he proposes a sensible way to understanding the others, based on a bodily closeness and sharing.But, with references to the current debate, the text suggests that in the reflections of the French phenomenologist it is possible to find a not subjectively centered paradigm for understandig empathy – that is a paradigm which does not always presuppose a subjective projection of my sensibility on that of the other ones. It can rather both consist in a common, prepersonal feeling, costituting the background of our conscious sensitivities, and proceed from the other human being to me, so that I often feel and understand myself by differing from the other individuals, who impose themselves on my senses and on my words. (shrink)

Merleau-Ponty. Une conception de l’empathie non centrée sur le sujet?Cet article étudie l’émergence du terme « empathie » dans les textes de Merleau-Ponty. Il souligne que le concept n’est pas avant tout présenté comme une catégorie épistémologique, remettant en question si et comment nous pouvons éventuellement connaître les autres. Au contraire, il est conçu comme une catégorie ontologique, pour dire notre appartenance à une nature commune. De ce point de vue, il propose une façon sensible pour comprendre les autres, basée (...) sur une proximité et un partage physiques.Mais, avec des références à l’actuel débat, le texte suggère que, dans les réflexions du phénoménologue français, il est possible de trouver un paradigme qui n’est pas centré sur une conception subjective de l’empathie – c’est a dire qu’il s’agit d’un paradigme qui ne suppose pas toujours une projection subjective de ma sensibilité sur celle des autres. Plutôt, il peut à la fois consister en un sentiment commun, prépersonnel, qui constitue l’arrière-plan de nos sensibilités conscientes, et aussi proceder de l’autre être humain à moi, alors que souvent je sens et comprendre moi-même par differentiation des autres personnes, qui s’imposent sur mes sentiments et sur mes mots.Merleau-Ponty. A Conception of Empathy not centered on the Subject?This paper investigates the emergence of the term “empathy” in Merleau-Ponty’s texts. It points out that the concept is not primarly introduced as an epistemological category, questioning if and how eventually we can know the others. On the contrary it is meant as an ontological category, in order to say our belonging to a common nature. From this point of view he proposes a sensible way to understanding the others, based on a bodily closeness and sharing.But, with references to the current debate, the text suggests that in the reflections of the French phenomenologist it is possible to find a not subjectively centered paradigm for understandig empathy – that is a paradigm which does not always presuppose a subjective projection of my sensibility on that of the other ones. It can rather both consist in a common, prepersonal feeling, costituting the background of our conscious sensitivities, and proceed from the other human being to me, so that I often feel and understand myself by differing from the other individuals, who impose themselves on my senses and on my words. (shrink)

Grazie al prezioso lavoro di Salvatore Tedesco e di Valeria Costanza D’Agata, è ora disponibile anche in italiano un altro volume importante di Richard Shusterman, che si affianca alla traduzione precedente di Estetica pragmatista (Palermo, Aesthetica, 2010). Pertanto anche il lettore non specialista può farsi un’idea non superficiale delle proposte del filosofo americano, agevolato in questo da una scrittura e da uno stile argomentativo chiari, mai criptici, esenti da tecnicismi per iniziati...

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)

What is evolutionary aesthetics for? This paper investigates whether and in what way it may be useful to develop a conception of artistic practices as culturally differentiated behaviours in response to our vital needs, without resorting to a reductionist and substantial conception of human nature. Through an approach based on cultural naturalism, the suggested inquiry is also meant to verify whether in the debate on the evolutionary origins of the arts there are conceptual tools and theses which can help understand (...) the present state of the arts and aesthetic consumption. Recognizing the historical, geographical and social conditioning that affects the traditional aesthetic stance and the conception of art as an autonomous sphere does not exclude the possibility of investigating the roles the arts play in human interactions with the world, the deep-seated anthropological needs they stem from, and the variety of ways in which they express these needs. In this light it seems more fruitful to conceive of the arts in terms of artyfing behaviours than to search for a more universal definition of art. The paper further suggests that the notion of “making special” – understood by Ellen Dissanayake as a shared anthropological attitude – makes it possible to recover those emotional and social dimensions in which artistic practices have their roots and which they in turn contribute to sustaining, arguing that a more critical evaluation is required of the structural ambivalence of these dimensions and of their consequences on artistic dynamics. (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...

Cambridge University Press has recently published a new paperback edition of Habits. Pragmatist Approaches from Cognitive Science, Neuroscience, and Social Theory, edited by Fausto Caruana and Italo Testa, making this volume available to a wider readership. This is good news, given the important contribution which this volume makes to the current debate on recent trends in cognitive science, social theory, and pragmatism, as well as the high quality of the papers it includes. The editors’ amb...