Art begins with happy absorption in activity.

This retracing is not readily accomplished in the case of architecture – which is perhaps one reason why there are so many ugly buildings. The activity is surely sufficiently “practical.” The stone starts from somewhere, and moves, as consistently as conditions permit, toward a place and state where it will be at rest – toward an end. He states that “there can be no distinction drawn, save in reflection, between form and substance.” For Dewey, substance is different from subject. The intimate nature of emotion is manifested in the experience of one watching a play on the stage or reading a novel. Dewey writes that religious behaviors and rituals were Dewey writes: “Underneath the rhythm of every art and of every work of art there lies, as a substratum in the depths of the subconsciousness, the basic pattern of the relations of the live creature to his environment.” The aesthetic deployment of these rhythms constitutes artistic form. There may be interference because of excess on the side of doing or of excess on the side of receptivity, of undergoing. This fact I take to be the only secure basis upon which aesthetic theory can build.

There is an act of reconstructive doing, and consciousness becomes fresh and alive. New York, Minton, Balch & Company [©1934] (OCoLC)557698172 And for the concept of time: transition, endurance, and date. Inability to build up simultaneously the idea and its objective embodiment imposes a handicap. The real work of an artist is to build up an experience that is coherent in perception while moving with constant change in its development.When an author puts on paper ideas that are already clearly conceived and consistently ordered, the real work has been previously done. This patterning is related to Dewey’s earlier ideas on rhythm. Of themselves they are but automatic reflexes. When the unity is of the sort already described, the experience has aesthetic character even though it is not, dominantly, an aesthetic experience.Two men meet; one is the applicant for a position, while the other has the disposition of the matter in his hands.
Returning to Keats, Dewey closes the chapter by making reference to another of Keats's passages, Beauty is truth, and truth beauty—that is all ye know on Earth, and all ye need to know.Concerning the passage, Dewey addresses the doctrine of divine revelation and the role of the imagination in experience and art. The mere spewing forth of emotion is not artistic expression. There is experience, but so slack and discursive that it is not Thus the non-aesthetic lies within two limits. There are also those who are wavering in action, uncertain, and inconclusive like the shades in classic literature. An over-emphasis of a single source of energy (at the expense of others sources of energy) in a work of art shows poor organization of energy. Things happen, but they are neither definitely included nor decisively excluded; we drift. This is because not one from the two implements the standards of a well-created philosophy of experience. In polarizing the two education philosophies, the author presented the ongoing conflict where a comparatively structured, regimented, prepared and moralistic traditional education clashes with a somehow unstructured, liberated and student-centered progressive education.

Art requires long periods of activity and reflection, and comes only to those absorbed in observing experience.

Maturation and fixation are polar opposites. The enduring whole is diversified by successive phases that are emphases of its varied colors.Because of continuous merging, there are no holes, mechanical junctions, and dead centers when we have an experience. Incubation goes on until what is conceived is brought forth and is rendered perceptible as part of the common world. He claims that there must be common substance in the arts “because there are general conditions without which an experience is not possible.” Ultimately, then, it is the person experiencing the artwork who must distinguish and appreciate these common qualities, for “the intelligibility of a work of art depends upon the presence to the meaning that renders individuality of parts and their relationship in the whole directly present to the eye and ear trained in perception.”
(2016, Nov 02).

For Fry the object as such tends to disappear in the whole of vision. No one experience has a chance to complete itself because something else is entered upon so speedily.

Art cannot be relegated to museums.

This is as true of fine as of technological art. The scope and content of the relations measure the significant content of an experience. The outline of the common pattern is set by the fact that every experience is the result of interaction between a live creature and some aspect of the world in which he lives. A comparison of his education theories to education of today as well as his influences on modern education will also be made. “Having an Experience” was published in 1934, when Dewey was seventy-five years of age. It is no linguistic accident that “building,” “construction,” “work,” designate both a process and its finished product.

A man does something; he lifts, let us say, a stone.

Until the artist is satisfied in perception with what he is doing, he continues shaping and reshaping. We use cookies to give you the best experience possible. Emotion belongs of a certainty to the self. "You must agree to out terms of services and privacy policy""You must agree to out terms of services and privacy policy" The blush becomes the emotion of shame when a person connects, in thought, an action he has performed with an unfavorable reaction to himself of some other person.Physical things from far ends of the earth are physically transported and physically caused to act and react upon one another in the construction of a new object.

The mere act of transcription is aesthetically irrelevant save as it enters integrally into the formation of an experience moving to completeness.