Experience, nature and art.

Abstract

Experience, with the Greeks, signified a store of practical wisdom, a fund of insights useful in conducting the affairs of life. Sensation and perception were its occasion and supplied it with pertinent materials, but did not of themselves constitute it. They generated experience when retention was added and when a common factor in the multitude of felt and perceived cases detached itself so as to become available in judgment and exertion. Thus understood, experience is exemplified in the discrimination and skill of the good carpenter, pilot, physician, captain-at-arms; experience is equivalent to art. Modern theory has quite properly extended the application of the term to cover many things that the Greeks would hardly have called "experience," the bare having of aches and pains, or a play of colors before the eyes. But even those who hold this larger signification would admit, I suppose, that such "experiences" count only when they result in insight, or in an enjoyed perception, and that only thus do they define experience in its honorific sense.

Det är inte enbart frågan om nomenklatur: Naturvetenskap och estetik

“…Det här påminner om Deweys tankar, då han såg både en kulturell och en biologisk dimension i de estetiska upplevelserna. 85 Det fi nns mycket gemensamt i hur människor upplever det estetiska i naturen, enligt miljöpsykologisk forskning. Detta trots geografi ska och kulturella skillnader.…”

A contribuição de John Dewey ao ensino da arte no Brasil

“…Torna-se, então, imprescindível complementar a definição com um esclarecimento sobre o que Dewey (2010a, p. 381) denomina «qualidade do fazer», noção situada no campo da estética, na qual residem as paixões suscitadas na pessoa que ouve, vê, toca, movimenta ou aprecia objetos derivados de produção humana; paixões que remetem à coordenação e unificação de qualidades antes separadas, concorrentes e difusas. Dewey (1958;2010a) envolve sensibilidade e paixão; sempre que o homem participa de experiências estéticas, lapida sua imaginação e seu poder criativo.…”

“…O cerne da contribuição oferecida pelas reflexões estéticas deweyanas à educação reside na tese de que as linguagens das artes precisam ser aprendidas, pois o desenvolvimento da sensibilidade artística não decorre de processos naturais, inatos (Dewey, 1958;2010a). Instaura-se, desse modo, um desafio aos educadores, o que, no vocabulário deweyano, recebe o nome de problema, situação ou objeto ainda obscuro que requer solução, esclarecimento: o problema consiste em elaborar meios para trabalhar com as referidas linguagens na escola.…”

Participating with Experience—A Case Study of Students as Co-Producers of Course Design

“…As a first phase communicative actions were identified (Table 1) based on their orientations in the course i.e., what further actions they provoked (Dewey, 1971). Elaborations were performed on what emerged when transcending a predefined curriculum.…”