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• W233863131 abstract "One of more important themes emerging from last century of philosophy and past three decades of cognitive neuroscience is that self that defines our personal identity is not a thing, but rather an ongoing experiential process. In American philosophy, William James and John Dewey were among first to realize that self is a cluster of of experiencing, thinking, and acting, so that what we call a person's character is nothing but what Dewey called an interpenetration of habits of a particular embodied creature acting within some physical and cultural environment. In this essay I will explore Dewey's contention that because self is intrinsically embodied and connected to its environment, it can be dramatically influenced by art, which is a culmination of intensified, unified, and harmonized experience. I begin by observing that we have inherited a roughly Kantian view of experience as divided into distinct types. This assumption relegates aesthetic experience to one particular non-cognitive type of feeling experience. Such a view provides no adequate way to explain how a person's identity might be tied to their experience of art, since it regards art as affecting only one dimension of a person's being. My claim is that Dewey rejected any partitioning of experience into discrete types, emphasizing that self develops in and through its organic biological and cultural engagement with its environment. Dewey placed art at center of development of self, insofar as art is an exemplary form of experience that optimizes our sense of meaning.1. Kant's Problematic View of Art and SelfThe greatest obstacle to a full appreciation of power of art to shape a person's identity is any metaphysical partitioning of self into different, and discrete, mental faculties. Within such a faculty psychology, if you think of identity of self as based principally on its rational capacities, and if you think of art as primarily affecting our perceptual and emotional systems, then you will never be able to explain how art can be meaningful to us and how it can influence our self-understanding.To see why this is case, let us consider Immanuel Kant's treatment of art in relation to self-identity. I mention Kant because we today are inheritors of some of his most influential views about nature of aesthetic judgment. In his Critique of Pure Reason (1781) Kant worked out his insight that unity of self exists in and through that selfs synthesis of objects of experience. As Kant expressed it,the original and necessary consciousness of identity of self is thus at same time a consciousness of an equally necessary unity of synthesis of all appearances according to concepts, that is, according to rules, which ... determine an object for their intuition, that is, concept of something wherein they are necessarily interconnected (1781/1968: A108)To put it a bit more concisely and less abstrusely, unity of self is constituted in and through our experience of objects. Subjectivity and objectivity are thus two aspects of one and same experiential process.The self that Kant saw as emerging in combining of perceptions into objects of experience was what he called consciousness: our awareness of ourselves as we experience ourselves. Kant called this our phenomenal self. Unfortunately, Kant's epistemologica! quest for (i.e., non-empirical) foundations for selfhood and knowledge led him to a more disembodied view of self, for two basic reasons. First, Kant mistakenly assumed that perception was merely a passive receiving of sense impressions that were supposedly given in intuition and then had to be organized into a perceived object by some alleged unifying activity that Kant unhelpfully called the transcendental unity of apperception. Setting this obscure terminology aside, Kant said that for some set of perceptions to become part of my particular consciousness, they must previously have been organized into a coherent whole by a non-empirical source of unifying activity that is our pure (or noumenal, to use Kant's language) self, as opposed to our own empirical experience of ourselves. …" @default.
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• W233863131 date "2013-01-01" @default.
• W233863131 modified "2023-09-26" @default.
• W233863131 title "II. Identity, Bodily Meaning, and Art" @default.
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