This carefully-researched book offers a dynamic and expansive Deweyan vision for the arts and education. This (re)vision acknowledges the influence on Dewey's aesthetics of art collector and educator Albert Barnes, while also exploring the various ways Dewey's writings on the arts, in moving beyond Barnes' "scientific aesthetic method," were an important resource for many innovative twentieth-century American artists, art movements, and arts-related educational institutions. Neither Barnes' influence on Dewey nor the features of Dewey's naturalistic aesthetics that (...) made his Art as Experience a favorite text of many artists and arts practitioners have been fully and adequately acknowledged in existing literature on Dewey's thinking about the arts and education. This book effectively remedies that situation. (shrink)

Due to its considerable length, this article has been published in two parts. Part 1, which appeared in the previous issue of the journal, discussed the intriguing relationship between John Dewey and Albert Barnes, as well as the circumstances behind the creation of the Barnes Foundation and its art education programs. Following this, it established both areas of convergence and divergence in Barnes’s and Dewey’s understandings of aesthetic formalism, organic unity, and form and content in the (...) arts. Part 2 now builds on these findings to explore important differences in their respective treatments of the significant sociocultural context of art. After returning briefly to the question of aesthetic formalism in... (shrink)

Due to its considerable length, this article is being published in two parts. This first part briefly discusses the intriguing relationship between John Dewey and Albert Barnes, as well as the circumstances behind the creation of the Barnes Foundation and its innovative art-education programs. This is followed by examination of the prominent roles of aesthetic formalism and organic unity in Barnes's writings about the arts and their less technical, more contextual positioning in Dewey's aesthetics. To end (...) Part 1 of the article, a similar dynamic is revealed in Barnes's and Dewey's ultimately disparate understandings of the relationship between form and content in the arts.In its heyday during the first part of the... (shrink)

Kant contends that necessity is a criterion of the a priori—that is, that all knowledge of necessary propositions is a priori. This contention, together with two others that Kant took to be evident—we know some mathematical propositions and such propositions are necessary—leads directly to the conclusion that some knowledge is a priori. Although many contemporary philosophers endorse Kant’s criterion, supporting arguments are hard to come by. Gordon Barnes provides one of the few examples. My purpose in this chapter is (...) to articulate and examine his argument. I have two goals in doing so. The first is to uncover several significant gaps in the argument. The second is to show that it suffers from a common defect in rationalist arguments. If the argument were successful against empiricist accounts of modal knowledge, it would apply with equal force to extant rationalist accounts of such knowledge. Hence, the cost of refuting modal empiricism is modal scepticism. (shrink)

The recent Minnesota case of In re Emergency Guardianship of Albert Barnes illustrates an emerging class of cases where a dispute between a family proxy and a hospital over “medical futility” requires legal resolution. The case was further complicated by the patient’s spouse who fraudulently claimed to be the patient’s designated health care proxy and who misrepresented the patient’s previously expressed treatment preferences. Barnes demonstrates the degree of significant administrative and institutional support to the health care team, (...) ethics consultants, and futility committees that is required when a futility dispute escalates to the need for judicial resolution. An institutional futility policy, especially one that is endorsed by other regional medical centers and organizations, is an important foundation for a hospital that seeks judicial support in a dispute over medical futility in end of life care. (shrink)

No interior do pensamento de Dewey, a gênese da estética merece mais atenção do que lhe é dada na literatura. Um aspecto, em especial, tem sido virtualmente negligenciado — com as notáveis exceções de Robins 2015, Ueno 2016, Hein 2017 e Granger 2018a e 2018b — a saber, os vínculos com Albert Coombs Barnes. Nossa hipótese é que Barnes desempenhou um papel relevante na “virada estética” da filosofia madura de Dewey. Neste artigo, nós tomamos um primeiro passo (...) rumo ao esclarecimento da relação entre eles e uma tentativa de mostrar a influência do colecionador de arte na obra do filósofo. (shrink)

Although recent work has been done on the Barnes Foundation and its philosophical and pedagogical background, almost all the research effort has been focused on the friendship and intellectual link between John Dewey and Albert C. Barnes. Unfortunately, to the best of our knowledge, the impact of George Santayana’s philosophy on the Foundation has not been systematically examined. The hypothesis that we present and develop in this article is that Santayana’s thought is essential for the aesthetic theories (...) elaborated within the framework of the Barnes Foundation: Barnes’ theory of art criticism; Dewey’s aesthetic theory, and even Lawerence Buermeyer’s aesthetic theory. This article is a first approximation with the purpose of clarifying these philosophical, theoretical and historical relationship so as to start to fill the existing gap in contemporary literature on the topic. (shrink)

This symposium provides five case studies of the ways that John Dewey's philosophy and practice were influenced by women or "weirdoes" (our choices include F. M. Alexander, Albert Barnes, Helen Bradford Thompson, Elsie Ripley Clapp, and Jane Addams) and presents some conclusions about the value of dialoging across difference for philosophers and other scholars.

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the contributors (...) could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

The purpose of this paper was to test whether imaginative resistance – a term used in the philosophical literature to describe the reluctance to imagine counter-moral worlds – is experienced by peo...

This book assesses the impact of the work of Chris Brown in the field of International Political Theory. The volume engages with general issues of IPT as well as basic issues such as the use and role of practical reasoning and presents a nuanced understanding about issues regarding the legitimacy of war and violence. It explores questions that pertain to human rights, morality, and ethics, and generally an outlook for devising a ‘better’ world. The project is ideal for audiences with (...) interest in International Relations, Ethics and Morality Studies and International Political Theory. (shrink)

This volume represents some of the most current thinking in the area of multijuralism and is essential reading for anyone interested in the coexistence of legal ...

Sartre importe à l'histoire vivante de la philosophie sous plusieurs angles. Héritier de Hegel qui le hante, il conteste celui-ci dans sa conviction « totaliste ». S'il reste fidèle au dynamisme hégélien, à l'interrogation constante du vécu, il les traduit pourtant par nos langages présents.

We live in the anthropocene, the era of global warming. How are Americans responding to this predicament? To answer the question we need a philosophical concept of a collective mood and then empirical support to make it concrete. The result is a collective ground state. It has gone through the stages of confident prosperity, the dissolution of that confidence, the present state of anxious disorientation, and the hopeful prospect of grounded responsibility.

Afropolitanism lies at the core of a debate concerning African identity, particularly on account of new configurations and flows generated by the globalization process. Proponents of this concept argue it has the capacity to better express the way Africa relates to and negotiates with the world than conventional African narratives of identity and emancipation. The paper aims at examining the relevance of this position, particularly through Mbembe’s approach to the concept and his criticism of conventional narratives of African identity and (...) emancipation. (shrink)