The analysis of Dewey’s philosophy of art shows that he assigns a certain type of action to the fine arts and subordinates every discussion of art theory to his strategy, which leads to unsatisfactory results. The transfer of his model of problem solving as the epitome of rationality to artistic creation contains a potential that is only inadequately used by him. That his problem-solving model can be expanded into a theory of art is shown by Arnold Gehlen, who transforms it into a theory of “experimenting action.” Direct references to Dewey can be found in his works “Der Mensch,” “Urmensch und Sp\u00e4tkultur,” and in the “Zeit-Bildern.” For Gehlen, “experimenting action” is fundamental to modern culture-and thus to action in the fine arts. As a result, the concept of “quality” and the problem of finality prove to be fundamental.<\/p>\n","protected":false},"excerpt":{"rendered":"
The focus of this book is the reconstruction of John Dewey’s philosophy of art. It leads through an examination of his “theory of experience,” which is a theory of action. At the beginning, therefore, there is a systematic and chronological account of epistemology in Dewey’s late philosophy. On the basis of his works “Experience and Nature”, “Art as Experience” and “Logic: The Theory of Research” the theses and explanatory models are described, which he also uses in his philosophy of art.
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