Hi Larry, > > [LP] Christine, could you elaborate on the contrast between *transitional > objects* and *formal objects* > > Christine, as I read your comment, I was also reflecting on Dewey's theory > of aesthetic *experience* which is an example of all experience for Dewey. > The concepts he plays with are *rhythm* and *recurrence* All activity as > occurences participates in rythmic sequences of activities. These > rhtyhm's can be perceived as mechanical with pre set units in relational > interaction. However aesthetic recurrence is another type of relationship > in which persons operate within these previous rhythm's repeating as > recurrences BUT as aesthetic experience the persons *summarize* what has > previously occured and then through their needs, desires, and motivated > intents participate in the *developing* rhythm *expanding of an expanding > horizon of understanding. My references will be very particular and probably obscure to the list: but I don't suppose anybody will be offended by that: First of all there seems something particular in British cultural life influenced by empirical thinkers in philosophy which draws on 'formal logic' ( Ilyenkov discusses this at painful length - but probably was up against 'incomprehension'); such that 'rationality' in Alan's inclusional characterisation attributes this vein to 'dialectics'. I am looking at this as it is might be very painful in the institutional contest of recognition . I was looking at past papers for discussion on xmca yesterday and revisted Basil Bernstein's 'horizontal and vertical discourse', which seems to make this fundamental slip ( june/july 2005) - my impression, I was looking for another paper- which I didn't find -discussing alterity by Wertch around this discussion http://lchc.ucsd.edu/mca/Mail/xmcamail.2006_08.dir/0038.html Either papers would do at the time - serendipity which- my difficulty arises from the 'othering' in scholarly writing as ( unquestioned that it is a 'good' thing to master writing in such a form) academic standard ( and yes especially in British institutions as I'm oriented here pragmatically). In the past I'm sure we've talked about this and witnessing, recognition - drawing in 'the face of the other' in Levinas' work - which figures dialogic expression and relations - and in written text might be translated or lost - or might be shifted to a formal 'everyman' or to a figure of universal: particular by an individual writer - or be a shared standard in collaborative writing. We have also in the past - with Roy Reynolds - off list - discussed the poetry of Rainer Maria Rilke, and Goethe - where the orientation of the untouchable Muse ( which I find more disturbing than -small r- romantic). In universal particular and individual - a line comes from Tonnies on gesellschaft gemeinshaft - in current writing the concept of 'individual (family):particular(institution) and universal practices illustrate unfolding relations - still through the standard of distancing of untouchable other 'the (standard) intelligent reader' an appeal to no person in particular living embodied co-presence( though often challenges come pretty close). Distance slips in when seen in expressions such as 'joining existing institutions' etc In this discussion of aesthetic we have also talked about 'duende' from the work of Garcia Lorca - who also contrasts 'angel' as another mode . Jack Whitehead, on the list sometimes, also. Duende as passion not sparked on 'untouchable distance' , arising in flamenco through 'artist- in -audience' ( but not as a passive reception , an origination of deepening of feeling from which perfomance springs )- a moment of duende brings into consciousness , from the potentialities felt expressed experienced and 'theorised' in the perfoming 'conditions' . This isn't necessarily family, and isn't 'institutional' in the senses of marriage/a movement /or organisational institution such as the British Law Society. 'Othering' is quite different to that in written perfomance in 'the english essay form', which relies on separation of audience towards the muse of the constructed 'intelligent and informed reader'. ( And we also discussed plurality of form of living and mystery of al -andalus ). Christine. __________________________________________ _____ xmca mailing list xmca@weber.ucsd.edu http://dss.ucsd.edu/mailman/listinfo/xmca