The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. The book’s 12 chapters explore three questions: What makes something a work of art? How should we experience art to get the most out of it? Once we understand art, how should we evaluate whether it is good or bad? Philosophical theory is illustrated with concrete examples: the paintings of Frida Kahlo, the music of Johann Sebastian Bach, the masks of the Nso people, and many others. Classic questions are balanced with cutting-edge challenges, such as Linda Nochlin’s work on the exclusion of women from the artistic canon. The Art Experience presupposes no prior knowledge of philosophy or art, and it will be of interest to any reader seeking an accessible and engaging introduction to this field. Along the way, readers learn how philosophical theories can affect our real-world experiences with painting, music, theater, and many other art forms. Key Features Accessible for any college student: assumes no knowledge of philosophy, art theory, or any artistic medium Organizes topics conceptually, rather than historically, allowing students to more easily grasp the core issues themselves rather than tracing their historical evolution Offers readers a large number of contemporary examples and a consistent focus on the way theory can affect people’s real-world experiences with art Explores questions about bias – for example, whether the artistic canon has excluded some groups unfairly and whether definitions of art are Western-biased

This three-part exploration of the art process takes students on a journey to discover more about themselves, learn about art history and the art of other cultures, and create imaginative designs of their own. The 72 tried-and-tested activities include family crests, kites, masks, mobiles, puppets, scrolls, and book jackets. Each project is described succinctly, with the purpose, materials, description, and steps clearly laid out. Grades 4-6. Illustrated. Good Year Books. 176 pages.

Thomas Alexander shows that the primary, guiding concern of Dewey's philosophy is his theory of aesthetic experience. He directly challenges those critics, most notably Stephen Pepper and Benedetto Croce, who argued that this area is the least consistent part of Dewey's thought. The author demonstrates that the fundamental concept in Dewey's system is that of "experience" and that paradigmatic treatment of experience is to be found in Dewey's analysis of aesthetics and art. The confusions resulting from the neglect of this orientation have led to prolonged misunderstandings, eventual neglect, and unwarranted popularity for ideas at odds with the genuine thrust of Dewey's philosophical concerns. By exposing the underlying aesthetic foundations of Dewey's philosophy, Alexander aims to rectify many of these errors, generating a fruitful new interest in Dewey.

Develop the artistic ability of students in grades PK–1 using Art Experiences for Little Fingers! This 64-page book encourages students to experiment with textures, shapes, and colors while they explore and discover more about the world around them. The book includes activities that increase observation skills and eye-hand coordination and nurture natural curiosity and imagination. All activities use inexpensive and/or readily available materials.

Research Methodology: From Philosophy of Science to Research Design distinguishes itself from many other works devoted to research methodology and the philosophy of science in its integrated approach towards scientific research, which is regarded as the scientific project on all levels from philosophy of science to research design. This work studie

"The subject of this dissertation, which belongs to the field of Classical Philology, are the definitions of the art of grammar found in Greek and Latin sources from the Classical era to the second century CE. Definitions survive from grammarians, philosophers, and general scholars. I have examined these definitions from two main points of view: how they are formed, and how they reflect the development of the art itself"--Preliminaries.