Democracy and Education, John Dewey [adult books to read txt] 📗

An individual may have learned that certain characteristics are conventionally esteemed in music; he may be able to converse with some correctness about classic music; he may even honestly believe that these traits constitute his own musical standards. But if in his own past experience, what he has been most accustomed to and has most enjoyed is ragtime, his active or working measures of valuation are fixed on the ragtime level. The appeal actually made to him in his own personal realization fixes his attitude much more deeply than what he has been taught as the proper thing to say; his habitual disposition thus fixed forms his real “norm”

of valuation in subsequent musical experiences.

 

Probably few would deny this statement as to musical taste. But it applies equally well in judgments of moral and intellectual worth. A youth who has had repeated experience of the full meaning of the value of kindliness toward others built into his disposition has a measure of the worth of generous treatment of others. Without this vital appreciation, the duty and virtue of unselfishness impressed upon him by others as a standard remains purely a matter of symbols which he cannot adequately translate into realities. His “knowledge” is second-handed; it is only a knowledge that others prize unselfishness as an excellence, and esteem him in the degree in which he exhibits it. Thus there grows up a split between a person’s professed standards and his actual ones. A person may be aware of the results of this struggle between his inclinations and his theoretical opinions; he suffers from the conflict between doing what is really dear to him and what he has learned will win the approval of others. But of the split itself he is unaware; the result is a kind of unconscious hypocrisy, an instability of disposition. In similar fashion, a pupil who has worked through some confused intellectual situation and fought his way to clearing up obscurities in a definite outcome, appreciates the value of clarity and definition. He has a standard which can be depended upon. He may be trained externally to go through certain motions of analysis and division of subject matter and may acquire information about the value of these processes as standard logical functions, but unless it somehow comes home to him at some point as an appreciation of his own, the significance of the logical norms — so-called — remains as much an external piece of information as, say, the names of rivers in China. He may be able to recite, but the recital is a mechanical rehearsal.

 

It is, then, a serious mistake to regard appreciation as if it were confined to such things as literature and pictures and music. Its scope is as comprehensive as the work of education itself. The formation of habits is a purely mechanical thing unless habits are also tastes — habitual modes of preference and esteem, an effective sense of excellence. There are adequate grounds for asserting that the premium so often put in schools upon external “discipline,” and upon marks and rewards, upon promotion and keeping back, are the obverse of the lack of attention given to life situations in which the meaning of facts, ideas, principles, and problems is vitally brought home.

 

2. Appreciative realizations are to be distinguished from symbolic or representative experiences. They are not to be distinguished from the work of the intellect or understanding.

Only a personal response involving imagination can possibly procure realization even of pure “facts.” The imagination is the medium of appreciation in every field. The engagement of the imagination is the only thing that makes any activity more than mechanical. Unfortunately, it is too customary to identify the imaginative with the imaginary, rather than with a warm and intimate taking in of the full scope of a situation. This leads to an exaggerated estimate of fairy tales, myths, fanciful symbols, verse, and something labeled “Fine Art,” as agencies for developing imagination and appreciation; and, by neglecting imaginative vision in other matters, leads to methods which reduce much instruction to an unimaginative acquiring of specialized skill and amassing of a load of information. Theory, and — to some extent — practice, have advanced far enough to recognize that play-activity is an imaginative enterprise. But it is still usual to regard this activity as a specially marked-off stage of childish growth, and to overlook the fact that the difference between play and what is regarded as serious employment should be not a difference between the presence and absence of imagination, but a difference in the materials with which imagination is occupied. The result is an unwholesome exaggeration of the phantastic and “unreal” phases of childish play and a deadly reduction of serious occupation to a routine efficiency prized simply for its external tangible results.

Achievement comes to denote the sort of thing that a well-planned machine can do better than a human being can, and the main effect of education, the achieving of a life of rich significance, drops by the wayside. Meantime mind-wandering and wayward fancy are nothing but the unsuppressible imagination cut loose from concern with what is done.

 

An adequate recognition of the play of imagination as the medium of realization of every kind of thing which lies beyond the scope of direct physical response is the sole way of escape from mechanical methods in teaching. The emphasis put in this book, in accord with many tendencies in contemporary education, upon activity, will be misleading if it is not recognized that the imagination is as much a normal and integral part of human activity as is muscular movement. The educative value of manual activities and of laboratory exercises, as well as of play, depends upon the extent in which they aid in bringing about a sensing of the meaning of what is going on. In effect, if not in name, they are dramatizations. Their utilitarian value in forming habits of skill to be used for tangible results is important, but not when isolated from the appreciative side.

Were it not for the accompanying play of imagination, there would be no road from a direct activity to representative knowledge; for it is by imagination that symbols are translated over into a direct meaning and integrated with a narrower activity so as to expand and enrich it. When the representative creative imagination is made merely literary and mythological, symbols are rendered mere means of directing physical reactions of the organs of speech.

 

3. In the account previously given nothing was explicitly said about the place of literature and the fine arts in the course of study. The omission at that point was intentional. At the outset, there is no sharp demarcation of useful, or industrial, arts and fine arts. The activities mentioned in Chapter XV

contain within themselves the factors later discriminated into fine and useful arts. As engaging the emotions and the imagination, they have the qualities which give the fine arts their quality. As demanding method or skill, the adaptation of tools to materials with constantly increasing perfection, they involve the element of technique indispensable to artistic production. From the standpoint of product, or the work of art, they are naturally defective, though even in this respect when they comprise genuine appreciation they often have a rudimentary charm. As experiences they have both an artistic and an esthetic quality. When they emerge into activities which are tested by their product and when the socially serviceable value of the product is emphasized, they pass into useful or industrial arts.

When they develop in the direction of an enhanced appreciation of the immediate qualities which appeal to taste, they grow into fine arts.

 

In one of its meanings, appreciation is opposed to depreciation.

It denotes an enlarged, an intensified prizing, not merely a prizing, much less — like depreciation — a lowered and degraded prizing. This enhancement of the qualities which make any ordinary experience appealing, appropriable — capable of full assimilation — and enjoyable, constitutes the prime function of literature, music, drawing, painting, etc., in education. They are not the exclusive agencies of appreciation in the most general sense of that word; but they are the chief agencies of an intensified, enhanced appreciation. As such, they are not only intrinsically and directly enjoyable, but they serve a purpose beyond themselves. They have the office, in increased degree, of all appreciation in fixing taste, in forming standards for the worth of later experiences. They arouse discontent with conditions which fall below their measure; they create a demand for surroundings coming up to their own level. They reveal a depth and range of meaning in experiences which otherwise might be mediocre and trivial. They supply, that is, organs of vision.

Moreover, in their fullness they represent the concentration and consummation of elements of good which are otherwise scattered and incomplete. They select and focus the elements of enjoyable worth which make any experience directly enjoyable. They are not luxuries of education, but emphatic expressions of that which makes any education worth while.

 

2. The Valuation of Studies. The theory of educational values involves not only an account of the nature of appreciation as fixing the measure of subsequent valuations, but an account of the specific directions in which these valuations occur. To value means primarily to prize, to esteem; but secondarily it means to apprise, to estimate. It means, that is, the act of cherishing something, holding it dear, and also the act of passing judgment upon the nature and amount of its value as compared with something else. To value in the latter sense is to valuate or evaluate. The distinction coincides with that sometimes made between intrinsic and instrumental values.

Intrinsic values are not objects of judgment, they cannot (as intrinsic) be compared, or regarded as greater and less, better or worse. They are invaluable; and if a thing is invaluable, it is neither more nor less so than any other invaluable. But occasions present themselves when it is necessary to choose, when we must let one thing go in order to take another. This establishes an order of preference, a greater and less, better and worse. Things judged or passed upon have to be estimated in relation to some third thing, some further end. With respect to that, they are means, or instrumental values.

 

We may imagine a man who at one time thoroughly enjoys converse with his friends, at another the hearing of a symphony; at another the eating of his meals; at another the reading of a book; at another the earning of money, and so on. As an appreciative realization, each of these is an intrinsic value.

It occupies a particular place in life; it serves its own end, which cannot be supplied by a substitute. There is no question of comparative value, and hence none of valuation. Each is the specific good which it is, and that is all that can be said. In its own place, none is a means to anything beyond itself. But there may arise a situation in which they compete or conflict, in which a choice has to be made. Now comparison comes in. Since a choice has to be made, we want to know the respective claims of each competitor. What is to be said for it? What does it offer in comparison with, as balanced over against, some other possibility? Raising these questions means that a particular good is no longer an end in itself, an intrinsic good. For if it were, its claims would be incomparable, imperative. The question is now as to its status as a means of realizing something else, which is then the invaluable of that situation. If a man has just eaten, or if he is well fed generally and the opportunity to hear music is a rarity, he will probably prefer the music to eating. In the given situation that will render the