Dewey’s Aesthetics. Leddy, T. & Puolakka, K. In The Stanford Encyclopedia of Philosophy. Metaphysics Research Lab, Stanford University, Fall 2021 edition, 2021. https://web.archive.org/web/20211022230831/https://plato.stanford.edu/archives/fall2021/entries/dewey-aesthetics/![Dewey’s Aesthetics [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper abstract bibtex John Dewey is, with Charles Sanders Peirce and William James, one ofthe leading early figures of the school of American Pragmatists. Hehas also had a great deal of influence in aesthetics and thephilosophy of art. His work Art as Experience (1934) isregarded by many as one of the most important contributions to thisarea in the twentieth century. The work is especially well-known forits full-blown treatment of aesthetic experience., Critical of attempts to limit aesthetic experience solely to thedomain of fine art, Art as Experience has had a highinfluence on trends in aesthetic research, which have sought tobroaden the scope of the field from the traditional arts to popularculture (Shusterman 1992, 2nd edition 2000), the naturalenvironment (Berleant 1997), and the everyday (Kupfer 1983, Saito2007, Stroud 2011, Leddy 2012). The work is also often seen as a keypart of Dewey’s general late philosophical project, mostsystematically developed in Experience and Nature (1925), ofrethinking experience along naturalist lines as an interaction betweenthe organism and its environment as opposed to a discrete sensory unitsuch as stimulus, impression, idea, or sense-datum. Instead ofinvestigating how our senses are in touch with reality and whetherthey represent it correctly—which Dewey takes to be the frame ofmodern epistemology—Dewey’s starting point, building onhis reading of Darwin’s theory of evolution, is to look at theways in which experience is formed as a part of natural processes towhich the human being is fundamentally tied. For Dewey, aestheticexperience is the highest form of this interaction. It is the phasewhen, in Dewey’s often used words, the interaction between theorganism and the environment reaches a stage of fulfillment. AlreadyExperience and Nature includes a chapter on aesthetics thethemes of which Dewey went on to develop in much greater depth anddetail in Art as Experience some ten years later. Due to thehigh value that Dewey places on aesthetic experience, Art asExperience has even been regarded as the culminating work ofDewey’s late philosophical thinking (Alexander 2013).
@incollection{leddy_deweys_2021,
edition = {Fall 2021},
title = {Dewey’s {Aesthetics}},
url = {https://plato.stanford.edu/archives/fall2021/entries/dewey-aesthetics/},
abstract = {John Dewey is, with Charles Sanders Peirce and William James, one ofthe leading early figures of the school of American Pragmatists. Hehas also had a great deal of influence in aesthetics and thephilosophy of art. His work Art as Experience (1934) isregarded by many as one of the most important contributions to thisarea in the twentieth century. The work is especially well-known forits full-blown treatment of aesthetic experience., Critical of attempts to limit aesthetic experience solely to thedomain of fine art, Art as Experience has had a highinfluence on trends in aesthetic research, which have sought tobroaden the scope of the field from the traditional arts to popularculture (Shusterman 1992, 2nd edition 2000), the naturalenvironment (Berleant 1997), and the everyday (Kupfer 1983, Saito2007, Stroud 2011, Leddy 2012). The work is also often seen as a keypart of Dewey’s general late philosophical project, mostsystematically developed in Experience and Nature (1925), ofrethinking experience along naturalist lines as an interaction betweenthe organism and its environment as opposed to a discrete sensory unitsuch as stimulus, impression, idea, or sense-datum. Instead ofinvestigating how our senses are in touch with reality and whetherthey represent it correctly—which Dewey takes to be the frame ofmodern epistemology—Dewey’s starting point, building onhis reading of Darwin’s theory of evolution, is to look at theways in which experience is formed as a part of natural processes towhich the human being is fundamentally tied. For Dewey, aestheticexperience is the highest form of this interaction. It is the phasewhen, in Dewey’s often used words, the interaction between theorganism and the environment reaches a stage of fulfillment. AlreadyExperience and Nature includes a chapter on aesthetics thethemes of which Dewey went on to develop in much greater depth anddetail in Art as Experience some ten years later. Due to thehigh value that Dewey places on aesthetic experience, Art asExperience has even been regarded as the culminating work ofDewey’s late philosophical thinking (Alexander 2013).},
urldate = {2021-10-22},
booktitle = {The {Stanford} {Encyclopedia} of {Philosophy}},
publisher = {Metaphysics Research Lab, Stanford University},
author = {Leddy, Tom and Puolakka, Kalle},
editor = {Zalta, Edward N.},
year = {2021},
note = {https://web.archive.org/web/20211022230831/https://plato.stanford.edu/archives/fall2021/entries/dewey-aesthetics/},
keywords = {archived},
}
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The work is especially well-known forits full-blown treatment of aesthetic experience., Critical of attempts to limit aesthetic experience solely to thedomain of fine art, Art as Experience has had a highinfluence on trends in aesthetic research, which have sought tobroaden the scope of the field from the traditional arts to popularculture (Shusterman 1992, 2nd edition 2000), the naturalenvironment (Berleant 1997), and the everyday (Kupfer 1983, Saito2007, Stroud 2011, Leddy 2012). The work is also often seen as a keypart of Dewey’s general late philosophical project, mostsystematically developed in Experience and Nature (1925), ofrethinking experience along naturalist lines as an interaction betweenthe organism and its environment as opposed to a discrete sensory unitsuch as stimulus, impression, idea, or sense-datum. Instead ofinvestigating how our senses are in touch with reality and whetherthey represent it correctly—which Dewey takes to be the frame ofmodern epistemology—Dewey’s starting point, building onhis reading of Darwin’s theory of evolution, is to look at theways in which experience is formed as a part of natural processes towhich the human being is fundamentally tied. For Dewey, aestheticexperience is the highest form of this interaction. It is the phasewhen, in Dewey’s often used words, the interaction between theorganism and the environment reaches a stage of fulfillment. AlreadyExperience and Nature includes a chapter on aesthetics thethemes of which Dewey went on to develop in much greater depth anddetail in Art as Experience some ten years later. 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