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Chicago
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Social Sciences
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Topic:

Having an Experience John Dewey 1934 (Essay Sample)

Instructions:

Please select ONE of the following readings:
Doris Sommer, "From the Top: Government-Sponsored Creativity," in The Work of Art in the World, 15- 48.
Friedrich Schiller, "Letter 15" from Letters on an Aesthetic Education.
John Dewey, “Having an Experience” in Art as Experience.
Doris Sommer, “Press Here: Cultural Acupuncture and Civic Stimulation” in The Work of Art in the World, 49–78.
Once you've made your selection, evaluate the text in a one-page, single-spaced analytical outline. Your outline should be written in complete sentences and consist of the following:
The first part is the shortest and should identify and rephrase in the student’s own words the thesis of the article or chapter.
Trace how the author attempts to prove this thesis. This analysis of the argument should show the author’s thinking and what evidence they provide.
In the third section, state your reactions to the essay, including what you perceive to be brilliance, flaws, or errors on the writer’s part.

source..
Content:


Having an Experience John Dewey 1934
Thesis
Experience is a continuous process because all living processes entail the interaction between live creatures and environmental conditions.
Proof of the thesis
Individuals have an experience when the material experienced runs its course to fulfil the intended purpose. After fulfilling the intended purpose, the experience is integrated and restricted within the general stream of experience, among other experiences. Experience is also a continuous process because life does not have a uniform uninterrupted flow, and it constitutes histories with different plots, onsets, and closure.
Real experiences majorly define the experience, and they constitute situations and episodes that are often recalled. These situations may involve tremendous importance, and every successive part of such an experience flows freely. The experience also lacks any missing links, and the unified manner of occurrence gives it its name. This unity is derived from a single quality that dominates the entire experience despite variations in its constituent parts.
There are common patterns in different experiences regardless of their resemblance in the details of the subject matter. Certain conditions must be met to validate this experience. These conditions depend on the common patterns arising from the fact that individual experiences result from the interactions between a living creature and some aspect of the immediate environment.
An experience must have a pattern and a structure because it extends beyond the ordinary action and alternation; rather, it is the relationship between these two aspects. This relationship arises from the unity between the action and consequence and gives meaning to all intelligence. The extent and nature of these relations constitute the significant content of an experience.
Experience is a continuous process because it is limited by all causes, which augment the connection between doing and undergoing. The interference may arise from excess doing or receptivity, which can blur perceptions and distort the experience. Excess of receptivity also limits the experience from maturing. It spills over to art because the perception of the doings and undergoing result from the work of intelligence. It connects to art because the artist is controlled by his knowledge of the connection between accomplished actions and the next course of action.
Aesthetic is not an intruder in experience because it constitutes the clarified and intensified development of traits constituting a normally complete experience. Its application in art is ambiguous but majorly thrives on the perception that it is superimposed on aesthetic material. The conscious experience,

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