A painting by Van Gogh of a bridge is not representative of a bridge or even of Van Gogh's emotion. The prior emotion is not forgotten but fused with the emotion belonging to the new vision. However, it does not necessarily follow that the latter play will be better than the former.

Works of art use materials that come from a public world, and they awaken new perceptions of the meanings of that world, connecting the universal and the individual organically.

Energy pervades the work of art, and the more that energy is clarified, intensified, and concentrated, the more compelling the work of art should be. The difference between art and science is that art expresses meanings, whereas science states them.

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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. This idea stands in opposition to the aesthetic theories presented by So extensive and subtly pervasive are the ideas that set art on upon a remote pedestal, that many a person would be repelled rather than pleased if told that he enjoyed his casual recreations, at least in part, because of their esthetic quality. The qualities of order and balance in works of art follow from the selection of significant energy.

A statement gives directions for obtaining an experience, but does not supply an experience. This serves as a further condemnation of aesthetic theory that unjustly elevates art too far above the pragmatic, experiential roots that it is drawn from. Otherwise they would not be expressive, nor without the common substance could they possess form.”

An experience has a unity and episodes fuse into a unity, as in a work of art. Art as Experience is not a book per se, but rather a rewriting of a series of lectures he gave on the "philosophy of art" at Harvard in 1931. It occurs to change the sound…The resulting quale, whatever it may be, has its meaning wholly determined by reference to the hearing of the sound. That is why these theories are so crucial to people's social and educational life. In this chapter Dewey examines several qualities that are common to all works of art. The result is a completely new object of a completely new experience.
. The experience may have been something of great or just slight importance.

Many a person who (�M#F+P�'A��@���@�����[C"��H�l�Y�l�{��� �� h�R��=���]!�� ��A Early in the chapter, Dewey discusses the feeling of a “total seizure”, a sense of “an inclusive whole not yet articulated” that one feels immediately in the experiencing of a work of art. Art as Experience is not a book per se, but rather a rewriting of a series of lectures he gave on the "philosophy of art" at Harvard in 1931. Art cannot be relegated to museums.

Essentially, rationality alone can neither suffice to understand life completely or ensure an enriched existence. Art as Experience. He adds however that the painter approaches the scene with emotion-laden background experiences. Dewey observes that some who have denied art meaning have done so on the assumption that art does not have connection with outside content. Such an experience has its own individualizing quality. 6 ART AS EXPERIENCE the comk strip, and, too frequently, newspaper accounts of love­ nests, murders, and exploits of bandits.

Dewey proposes that there is a continuity between the refined experience of works of art and everyday activities and events, and in order to understand the aesthetic one must begin with the events and scenes of daily life. For the concept of space, he identifies these qualities as spaciousness, spatiality, and spacing. Theories which simply focus on the expressive object dwell on how the object represents other objects and ignore the individual contribution of the artist. H�lS�n�0��+�f��d ( it was and is a valid conception of a well-researched phenomenon. Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.