Practically the theory of effort amounts to nothing. When a child feels that his work is a task, it is only under compulsion that he gives himself to it. At the least let-up of external pressure we find his attention at once directed to what interests him. The child brought up on the basis of the theory of effort simply acquires marvelous skill in appearing to be occupied with an uninteresting subject, while the real heart and core of his energies are otherwise engaged. Indeed, the theory contradicts itself, (it is psychologically impossible to call forth any activity without some interest. ) The theory of effort simply substitutes one interest for another. It substitutes the impure interest of fear of the teacher or hope of future reward for pure interest in the material presented. The type of character induced is that illustrated by Emerson at the beginning of his essay on Compensation, where he holds up the current doctrine of compensation as virtually implying that, if you only sacrifice yourself enough now, you will get to indulge yourself a great deal more in the future ; or, if you are only good now (goodness consisting in attention to what uninteresting,) you will have, at some future time, a great many more pleasing interests — that is, may then be bad. -John Dewey, Interest As Related to Will, 1895
Art and Aesthetics – Stanford Encyclopedia of Philosophy
Art As Experience – Having An experience pdf (John Dewey)
Dewey and Everyday Aesthetics – A New Look (Kalle Puolakka)
Second hand observations suggest that some people do walk up to my art and try to figure out what it going on, (as I have described this,) in its folds.
This is by design. The design method is straight-forward. I cut into an original photograph or generative image that pictures a heap of small abstract, or mostly abstract, multivarious details, and, through the simple transformations provided by throwing half the cut out, doubling or quadrupling the remaining part, and then matching the identical edges together, I capture order and set this into the new picture.
What is produced is a vertical, or horizontal, or quadruple, mirror symmetry, and, order. My hope is there come to face a piece a viewer able to experience the piece in integrity.
. . .esthetic experience is experience in its integrity. Had not the term “pure” been so often abused in philosophic literature, had it not been so often employed to suggest that there is something alloyed, impure, in the very nature of experience and to denote something beyond experience, we might say that esthetic experience is pure experience. For it is experience freed from the forces that impede and confuse its development as experience; freed, that is, from factors that subordinate an experience as it is directly had to something beyond itself. -John Dewey, Art As Experience (hat tip to Daniel Green, The Reading Experience)
If I’m standing with you, facing a piece, the possibility of having a pure experience will be fouled up! For me, now by both design and artistic intention, the best outcome for my experiments is a viewer’s dosie-doe, first is the pure experience, then comes the unique capture, or grasp of order.
