Art as Experience

Art as Experience

John Dewey

Language: English

Pages: 371

ISBN: 0399531971

Format: PDF / Kindle (mobi) / ePub

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.

Edmund Burke's Aesthetic Ideology: Language, Gender and Political Economy in Revolution (Cambridge Studies in Romanticism, Volume 4)

Teaching Contigencies: Deleuze, Creativity Discourses and Art

Perspecta 47: Money (Perspecta)

Visual Art and Education in an Era of Designer Capitalism: Deconstructing the Oral Eye

Schopenhauer and the Aesthetic Standpoint: Philosophy as a Practice of the Sublime

Essential Works of Foucault, 1954-1984, Volume 2: Aesthetics, Method, and Epistemology















order and organization of experience. Identifi cation nods and passes on. Or it defines a passing moment in isolation, it marks a dead spot in experience that is merely filled in. The extent to which the process of living in any day or hour is reduced to labeling situations, events, and objects as "so-and-so" in mere succession marks the cessation of a life that is a conscious experience. Continuities realized in an individual, discrete, form are the essence of the latter. Art is thus

that emphasize beyond all reason the merely contemplative character of the esthetic. Confusion of values enters in to accentu ate the separation. Adventitious matters, like the pleasure of collecting, of exhibiting, of ownership and display, simulate esthetic values. Criticism is affected. There is much applause for the wonders of appreciation and the glories of the tran scendent beauty of art indulged in without much regard to ca pacity for esthetic perception in the concrete. My purpose,

OF THE ARTS 187 X. THE VARIED SUBSTANCE OF THE ARTS 214 XI. THE HUMAN CONTRIBUTION XII. THE CHALLENGE TO PHILOSOPHY 24S 272 XIH. CRITICISM AND PERCEPTION 298 XIV. ART AND CIVILIZATION 3*5 INDEX 35i ART AS EXPERIENCE CHAPTER I THE LIVE CREATURE BY ONE of the ironic perversities that often attend the course of affairs,the existence of the works of art upon which forma tion of an esthetic theory depends has become an obstruction to theory about them. For one reason, these works

attainment of a period of equilibrium is at the same time the initiation of a new relation to the environment, one that brings with it potency of new adjustments to be made through struggle. The time of consummation is also one of beginning anew. Any attempt to perpetuate beyond its term the enjoyment attending the time of fulfillment and harmony constitutes withdrawal from the world. Hence it marks the lowering and loss of vitality. But, through the phases of perturbation and conflict, there

way of fresh insight. When an art product once attains classic status, it somehow becomes isolated from the humanconditions under which it wasbroughtinto being and from the human consequences it engenders in actual lifeexperience. When artistic objects are separated from both conditions of origin and operation in experience, a wall is built around them that renders almost opaque their general significance, with which esthetic theory deals. Art is remitted to a separate realm, where it is cut

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