The Journal of the Central-lnropean Pragmatist Forum 2 EDITORIAL & ADVISORY BOARDS Susan Haack University of Miami, USA Richard Hart EDITOR IN CHIEF Bloomfield College, USA Larry Hickman Alexander Kremer Southern Illinois University, USA Univesity of Szeged, Hungary Dorota Koczanowicz [email protected] University of Wrocław, Poland Leszek Koczanowicz ASSOCIATE EDITORS University of Social Sciences and Humanities, Poland Philipp Dorstewitz Alan Malachowski American University of Ras-al-Khaimah, UAE University of Stellenbosch, South Africa [email protected] Armen Marsoobian Don Morse Southern Connecticut State University, USA Webster University, USA Carlos Mougán [email protected] University of Cadiz, Spain Henrik Rydenfelt Miklos Nyiro University of Helsinki, Finland University of Miskolc, Hungary [email protected] Gregory Pappas Wojciech Małecki Texas A&M University, USA University of Wroclaw, Poland Ramón Rodríguez Aguilera [email protected] University of Sevilla, Spain John Ryder ADVISORY BOARD American University of Ras-al-Khaimah, UAE Herman Saatkamp Gideon Calder Richard Stockton College of New Jersey, USA University of Wales, United Kingdom Richard Shusterman James Campbell Florida Atlantic University, USA University of Toledo, USA Radim Šíp Ramón del Castillo Masaryk University, Czech Republic Universidad Nacional Educación a Distancia, Spain Charlene Haddock Seigfried Vincent Colapietro Purdue University, USA Pennsylvania State University, USA Paul Thompson Michael Eldridge † Michigan State University, USA University of North Carolina, Charlotte, USA Christopher Voparil Tigran Epoyan Union Institute and University, USA UNESCO Moscow Office, Russia Kathleen Wallace Hofstra University, USA Gert Wegmarshaus DAAD, Germany Nina Yulina † Institute of Philosophy, Russian Academy of Science, Russia 3 TABLE OF CONTENTS INTRODUCTION Alexander Kremer ........................................................................................................................................................... 5 RICHARD SHUSTERMAN IN B UDAPEST – AN INTERVIEW ...................................................................................... 7 I. JOHN DEWEY AND SOMAESTHETICS LIVING AS A C REATIVE ACTIV ITY – AN INTRODUCTION TO JOHN DEWEY 'S THEORY OF E XPERIENCE Belén Pueyo e Ibáñez ...................................................................................................................................................... 13 AESTHETICS , METAPHYSICS , AND P OLITICS : JOHN DEWEY AND THE SYMBOLIC RECONSTRUCTION OF THE WORLD Ángel M. Faerna & María Aurelia Di Berardino .............................................................................................................. 19 THE NECESSITY OF SOMA – THE MOTOR LINES OF OPERATION IN JOHN DEWEY ’S AESTHETICS Ewa Chudoba ................................................................................................................................................................. 24 II. A HISTORICAL ANGLE THE SOMAESTHETIC PRINCIPLE OF “EXPERIENCING ” / AESTHETIC EXPERIENCE IN THE OLDEST HISTORY OF MANKIND OR THE IMPORTANCE OF COMPLEX EXPERIENCE FOR AESTHETIC EXPERIENCE ? Lukáš Makky ................................................................................................................................................................. 29 THE BODY OF THE O RIENTS – THE B ODY THAT WHICH O RIENTS . THE SIGNIFICANCE OF THE B ODY IN TRADITIONAL EAST A SIAN AESTHETIC EXPERIENCE Lehel Balogh ................................................................................................................................................................... 37 BODY PHENOMENOLOGY , S OMAESTHETICS AND NIETZSCHEAN THEMES IN MEDIEVAL A RT Matthew Crippen ............................................................................................................................................................ 45 ARTIST AS TREE : THE ROOT OF A RTISTIC EXPERIENCE . THE EXPERIENCE OF THE A RTIST IN HEIDEGGER ’S O RIG IN VIA PAUL K LEE Hayley Addis ................................................................................................................................................................... 51 TACIT TACT – THE HIERARCHY , UNAVOIDABILITY AND CONSCIOUSNESS OF SENSUAL METAPHORS BY GADAMER Júlia Tóth Czifra .............................................................................................................................................................. 58 PRESSING BODIES /P RESSING C ONCERNS – THE “L IVED EXPERIENCE ” OF THE NON -HERMENEUTIC IN THE W ORKS OF HANS U LRICH GUMBRECHT Robert Smid .................................................................................................................................................................... 62 II. SOME APPLICATIONS OF SOMAESTHETICS EXTENDED AESTHETIC EXPERIENCE IN C ONTEMPORARY A RT Gizela Horváth ................................................................................................................................................................ 72 WHAT M OVIES SAY ABOUT MIND : NEUROSCIENCE , INTENTIONAL ACTION AND R OTOSCOPY Emmanuelle Glon ........................................................................................................................................................... 78 RETHINKING FILM MA GIC , A PRAGMATIST APPROACH Joel Richeimer ................................................................................................................................................................. 86 THE VARIETIES OF MUSICAL EXPERIENCE Brandon Polite ................................................................................................................................................................ 93 A PHILOSOPHY OF TRIATHLON Tamás Seregi ................................................................................................................................................................ 101 AESTHETIC EXPERIENCE : A VIEW FROM THE MANDARA M OUNTAINS James H. Wade ............................................................................................................................................................. 107 4 INTRODUCTION : philosophical urge for theory as mirroring reflection of AESTHETIC EXPERIENCE AND SOMAESTHETICS the real?” (Ibid.) This could be regarded as valuable Alexander Kremer philosophical effort if reality could be held to be a fixed Hungary and necessary essence, but reality and the works of art [email protected] especially seem to be different. Not only is everything relative and relational, but also radically temporal, historical and thus contingent. As Shusterman says: “if It is beyond question that one of the most important art’s realities are the empirical and changing topics of aesthetics is the problem formalized in the contingencies of art’s historical career, then the question „What is art?” If we look at our interpretive reflective model seems pointless” (ibid.). What is more, it framework, it is obvious that without an absolute is not enough to describe the changing history of art, Archimedean point in a metaphysical sense nobody can since it is in countless cases only a conservative give an ultimate definition of art. Our world is inevitably reinforcement of the status quo, but – from the relative and relational, and we eagerly need strong pragmatist point of view – theory of art should commit points of reference in this kind of relative situation. This interventions: “so pragmatism also rethinks the roles and is, I think, one of the reasons why Richard Shusterman limits of aesthetic theory and philosophy” (TTB 138.). If (1949 – ) also defends the central role of experience philosophy is indeed (as Shusterman holds it) an in aesthetics. As it is well-known, Shusterman is one of embodied way of life (rather than simply a mere the main figures of contemporary neopragmatism. His theoretical achievement), then its “ultimate aim is to general theoretical standpoint can be described as a benefit human life rather than serving pure truth for philosophical aestheticism saturated with democratic truth’s sake” (ibid.). political intentions. In his case it is manifested in a naturalistic somaesthetics, tinted by the meliorist strive As Shusterman confesses it, he turned from analytic of pragmatism to democratize society as much as philosophy to pragmatism for such reasons, while also possible. enlisted “insights from hermeneutics, critical theory, and post-structuralism that challenge in different ways some Shusterman emphasizes that one of the possibilities to of the problematic assumptions and limits of analytic define art is the “wrapper model of theory,” 1 which is aesthetics” (TTB 139). Disregarding these problems here, dominant mostly in analytic philosophy. Philosophers try I would like to emphasize here only that Shusterman, to cover here the whole domain of works of art: no less starting from his philosophical turn at around the end of and no more, only the artworks. Although, according to the 80s, regarded the analytic wrapper definitions of art Shusterman, Danto’s theory “best realizes the dual goals as demarcational ones and preferred the pragmatist of wrapper definitions: accurate reflection and transformational definition of art as experience (cf. TTB compartmental differentiation that set art apart from 139). This is why he followed Dewey’s naturalist the rest of life” (TTB 137), these goals do not satisfy him. pragmatist aesthetics, rather than his analytic