A comparison of his education theories to education of today as well as his influences on modern education will also be made. Such an experience has its own individualizing quality. The aesthetic experience involves the passing from disturbance to harmony and is one of man's most intense and satisfying experiences. And for the concept of time: transition, endurance, and date.

Glorifying art and setting it on a pedestal separates it from community life.

And even an “objectless” emotion demands something beyond itself to which to attach itself, and thus it soon generates a delusion in lack of something real.

Art involves molding of clay, chipping of marble, casting of bronze, laying on of pigments, construction of buildings, singing of songs, playing of instruments, enacting roles on the stage, going through rhythmic movements in the dance. The aesthetic experience – in its limited sense – is thus seen to be inherently connected with the experience of making.The sensory satisfaction of eye and ear, when aesthetic, is so because it does not stand by itself but is linked to the activity of which it is the consequence. Obstacles are overcome by shrewd skill, but they do not feed experience. 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.” It denotes the consumer’s rather than the producer’s standpoint. The mere spewing forth of emotion is not artistic expression. Art intensifies the sense of immediate living, and accentuates what is valuable in enjoyment.

The description of the actual act of experiencing is drawn heavily from the biological/psychological theories Dewey expounded in his development of functional psychology.

Recognition is too easy to arouse vivid consciousness. Through the expressive object, the artist and the active observer encounter each other, their material and mental environments, and their culture at large. There is no interest that controls attentive rejection or selection of what shall be organized into the developing experience.

For the public to realize the importance of experiences and their link to one’s education is what this paper ultimately aims to achieve.An Analysis of John Dewey’s “Experience and Education”            For a man who is recognized as the 20th century’s most excellent educational theorist or philosopher, “education is life itself” which needs to be experienced, practiced and understood. The idea that aesthetic perception is an affair for odd moments is one reason for the backwardness of the arts among us.

They are certainly not to be characterized as amusing, and as they bear down upon us they involve a suffering that is none the less consistent with, indeed a part of, the complete perception that is enjoyed.I have spoken of the aesthetic quality that rounds out an experience into completeness and unity as emotional. Irrelevancies arise that are tempting distractions; digressions suggest themselves in the guise of enrichments. Successful politicians and generals who turn statesmen like Caesar and Napoleon have something of the showman about them. Sometimes, the effect is to separate the two from each other, to regard art as something superimposed upon aesthetic material, or, upon the other side, to an assumption that, since art is a process of creation, perception and enjoyment of it have nothing in common with the creative act.

If the artist does not perfect a new vision in his process of doing, he acts mechanically and repeats some old model fixed like a blue print in his mind. The difference between the two is immense. There is interest in completing an experience. Art is expressive when there is complete absorption in the subject and a unison of present and past experience is achieved. In doing so, the different disciplines achieve the sense of wholeness in a given work, and the coalescing of ends and means in qualitatively different ways.

In fact, in an experience of thinking, premisses emerge only as a conclusion becomes manifest. Dewey notes that formalist art critic Roger Fry spoke of relations of lines and colors coming to be full of passionate meaning within the artist. Emotion belongs of a certainty to the self. Their succession is punctuated and made a rhythm by the existence of intervals, periods in which one phase is ceasing and the other is inchoate and preparing.

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