Aesthetic is branch of philosophy discussing about the perception issues including beauty, such as aesthetic experience. John DEWEY, a pragmatic philosopher, shared the twentieth century with the possibility of an empirically grounded ethics. There is much to learn from DEWEY about how to proceed in an aesthetic experience in quire about morality. Therefore, it is important to explore the relation between DEWEY's ethics and his aesthetic experience. This essay with analytical method was an effort to explore this relation. The result showed that aesthetic experience responded to the demand of feeling in difference situations. Therefore, artistic factors of this experience such as feeling, imagination and compassion are the essential components of morality to complete the experience, understanding, and meaning of morality in the people. Moreover, aesthetic experience and moral education are inseparable.

Democray is the most importantn element in DEWEY’s thought. In this paper DEWEY’s theory on democray will be evaluated, furthermor some challenges are ascrbed to it: first, DEWEY has not presented any philosophical argument about his idea: “Democracy is a moral ideal”. Second: if  it is known by a posteriori method that Democracy is the best, this idea can not be generalized to future, so it could be critized and we can assume other methods or systems. Third: because of the imposibilty of the assuming of similar conditions for all peple, the capacity of doing rational judgment will not similar in spite of constituting democracy. Forth: DEWEY has neglected of irrational elements in members of society devisions in his theory. Finally, since he denies that we can know the absolute, the attempt to establish the morally organized democratic society is so vaguely pictured by him, without necessary rational foundation.

Purpose: The aim of this research was to critically study the Iranian expansions of the DEWEY Decimal Classification in three sections i.e. standard subdivisions, the schedules, and the relative index. Methodology/Approach: This is a developmental research based on records and comparisons. Findings: Despite the claim that the Iranian literature expansion is up-to-date and matched to the 21st edition of the DEWEY Classification, in the standard subdivision table of this expansion, 80.30 percent of the numbers together with the expressions in front of them have changed in comparison with edition 21 of DEWEY Classification. In the schedules, general principles are similar to those of DEWEY edition 18, while this structure has significantly altered in Edition 22. The expansion of Islam also indicates the differences between the structure and numbers presented in this expansion for the Islam subject field and the structure and numbers available in the DEWEY in its present edition i.e. edition 22, for this field. The third edition of the Iran History expansion, as its introduction claims, had been compared with DEWEY 21 and edited wherever required. 89.47 percent of the numbers in the history expansion have completely changed in comparison with edition 20 and 88.38 have completely changed compared with Edition 21. The last edition of the Iranian languages expansion (i.e. edition 2) conforms to DEWEY Edition 19. Statistical findings from the standard subdivisions tables show that 27.86 percent of the numbers in the Iranian languages expansion have undergone significant change compared with DEWEY Edition 19. Analysis of the schedules of literature, history, and Iranian languages expansions along with comparisons with the main outline of the DEWEY classification in classes 800, 900, and 400 and comparing them with structures of schedules in the literature, history, and Iranian languages expansions indicate a limit in numbering through the literature, history, and Iranian languages expansions. Conclusion: The Iranian expansions of the DEWEY classification need to be updated based on the universal approach used in the main text of the DEWEY classification. By implementing the suggestions of this research the Iranian expansions may be combined into one volume. Some suggestions are provided for changing the structure of schedules of these expansions and therefore improving the status of numbering by them.

Interactive art, as one of the media of the new art, leads to an audience’, s experience that is different from what has been experienced in the history of art. The interactive art media emerged from the new paradigm (postmodernism) in the world of art and gave new definitions to the same paradigm. Since the creation of a theoretical and philosophical framework for the complete reading of this art seems necessary,the present article aims to understand and explain the concept of experience in this art by analyzing the theory of the Aesthetic experience of John DEWEY’, s and adapting it to interactive art. John DEWEY (1952-1859) is a contemporary American philosopher who called his philosophy pragmatism. Media from the perspective of DEWEY is a mediator between the artist and the audience. By hinting out the patriarchal significance of the author and changing his position, this media gave the audience a special, new, and unique definition of what we know about art history. For this reason, this art was faced with public pleasure both in the galleries and in the spaces outside of them, and was made available to ordinary people and part of their everyday lives. DEWEY, by addressing the concept of human interaction and considering it as the foundation of aesthetic experience also emphasizing of the concept of technology, provides two important aspects in shaping the theoretical framework for reading interactive art. And answer the question what parameters of the audience’, s experience of interactive art makes them aesthetic and conceptual experience? In the other words if we give you the experience of interactive art as an example of DEWEY’, s aesthetic experience, then what are the factors behind the link, similarity and interaction of this concept and its implications? It seems that perception interactive art can be considered as an example of aesthetic experience. Factors such as interaction, action and reaction, as well as the approached position of the author and audience, subject and object, instrument and result makes a common border between interactive art and DEWEY’, s theory. On the other hand, the importance of the position of science and technology in this theory provides the basis for the study of interactive art as much as possible. The interactive arts bring the audience and her/his experience to the place of the author and the creator in a new place in the history of art, thereby eliminating the boundary between the art object and the subject. Due to the approached position of the subject and the object, as well as the subjectivity and objectivity in interactive arts, we cannot believe in the distinct tools and means which give rise to definite results. . Finally, an example of an interactive installation called “, A-Volve”,the work of Christa somerere & Laurent has been introduced and studied as an example of a computer interactive art will be analyzed based on the theoretical framework of the research. A-Volve has become a complete example of DEWEY’, s aesthetic experience through factors such as interaction (action / reaction), sense, rhythm and imagination.

In this study, the purpose is to explain John DEWEY's views on the connection between theory and practice in the democratic society. According to him this aim can be achieved through education. Criticizing the dualities in the history of philosophy, DEWEY considers the mission of philosophy not only in discovering the relations between the world and the mystery of the world, but its mission includes how to control and correct the world too. The task of philosophy is to study social conflicts through thinking and resolving these conflicts. He seeks to formulate philosophy in line with the principles of democratic life and to prepare citizens for a democratic society while reconciling opinion and practice. For DEWEY as a pragmatist, the concept of democracy is not merely a political concept. For a pragmatist, redesigning the overall form of society in which different people live is a necessity of a democratic society. In this form, the pervasive interaction of community members with each other through social experiences and in some way which leads to social continuity is emphasized. According to DEWEY, the realization of this meaning is possible through education and in this way, the possibility of for all members of the community to grow and members of the community to achieve problem-solving skills and the critical thinking method reaches a desirable level of intellectual maturity. Therefore, DEWEY, on the one hand, seeks to solve life's problems and social incompatibilities through philosophy, and on the other hand, considers democracy to be the best way of life; With a pragmatic approach, he is trying to draw the desired democratic society in such a way that the element of education in the individual of the society creates the ability to solve problems in the members of the society and provides the possibility of their participation in the mechanism of the society, solving current problems and social conflicts.

This article endeavors to elucidate the key concepts and views of Croce and DEWEY within the framework of a comparative study of their philosophical systems, focusing specifically on aesthetics. The central hypothesis of this research is that the core idea of DEWEY's philosophy, termed “immediate experience, ” is a pragmatist interpretation of the closely related concept of “intuition” in Croce's aesthetics. Thus, both philosophers emphasize the role of aesthetics as a kind of a priori quality that ensures the unity and coherence of experience and knowledge. The defining difference lies in the fact that Croce, through the idea of “intuition-expression, ” emphasizes the epistemological aspect of aesthetics, while DEWEY conveys this same a priori quality in an ontological context (the process of the formation of experience). In other words, aesthetics, as an a priori quality, oversees the condition of unity and wholeness in the process of the formation of perception and guarantees the attainment of intuitive experience. In simpler terms, it is only by assuming a kind of aesthetic end (purposiveness without purpose) that the multifaceted and dynamic nature of perception is unified in an immediate and intuitive experience, and the possibility of “living” becomes feasible. A comparison of the views of DEWEY and Croce, who belong to two contrasting intellectual traditions, reveals that the aforementioned hypothesis (i. e., the hypothesis that emphasizes the role of aesthetics as an a priori quality in the process of intuition and the formation of experience), regardless of whether its starting point is the realm of the objective (experience) or the realm of the subjective (intuition), leads to a unified conclusion, and its validity can be confidently asserted.

This paper is going to examine critically the philosophical foundations of John DEWEY's ethical views. DEWEY argues that ethical inquiry is of a kind of empirical inquiries. Value judgments are some instruments for enabling the satisfactory redirection of conduct when habit no longer suffices to direct it. As tools, they can be evaluated instrumentally, in terms of their success in guiding conduct. We test our value judgments by putting them into practice and seeing whether the results are satisfactory whether they solve the problems they were designed to solve. This pragmatic approach requires that we locate the conditions of warrant for our value judgments in human conduct itself, not in any a priori fixed reference point outside of conduct, such as in God's commands, Platonic Forms or pure reason. The main problem of moral philosophy of John DEWEY is relativism.

Representation is a process through which artistic and philosophical movements throughout history have expressed realities or imaginings, either directly and naturalistically or indirectly and abstractly. The concept of beauty within this process varies according to each movement's definitions and understandings of human nature and existence. This study examines the evolution of avant-garde movements following the invention of photography, the birth of cinema and animation, and the World Wars, which served as pivotal moments in the transformation and redefinition of representation in art and beauty during the Pop Art era. This era marks a significant departure from classical aesthetics spearheaded by avant-garde movements, where popular culture emerged as a vital source of inspiration and artistic creation. The research delves into the origins of Pop Art movement, which emerged as a response to growing division between subjective perspectives of avant-garde artists and the general public. This divide created a need to explore the structure of experience and its role in shaping popular culture. Central to this exploration are the theories of John DEWEY, a leading figure in the philosophy of pragmatism, who emphasized the importance of aesthetic experience and popular culture as influential forces in the artistic process of this era. DEWEY’s theories provide a framework for understanding how art can engage with everyday experiences and contribute to the cultural landscape. The study further investigates the evolution of aesthetics in experimental animations produced by the National Film Board of Canada (NFB), recognized as one of the most influential institutions in the development and growth of experimental animation. The analysis is conducted across three distinct strands: abstract animations heavily influenced by Modernist art, particularly by avant-garde painters who were pioneers in experimental animation; transitional animations that serve as a bridge between Modernist aesthetics and Pop Art, blending elements of high art and popular culture; and animations that achieve a unified aesthetic by integrating the formal and thematic elements of Pop Art with DEWEY's concepts of everyday aesthetic experience. This research explores the reasons and mechanisms behind the shifts in aesthetic criteria and their impact on the experimental animations of the NFB. By analyzing and comparing the formal and thematic characteristics of selected works from each strand, the study identifies specific criteria that illustrate how DEWEY's aesthetic theory of everyday life has transformed NFB's works from abstract creations into works deeply embedded in popular culture, yet still influenced by the formal elements of Modern and abstract art. The study employs a descriptive-analytical approach, reviewing the development of Pop Art, the capabilities of experimental animation as a pioneering branch of visual arts, and the supportive environment provided by the NFB. This environment has enabled the integration of diverse cultural influences through the work of artists with unique techniques and styles. The analysis concludes by determining the extent to which Pop Art has influenced these animations, demonstrating that contemporary art and beauty emphasize a direct connection between art and everyday life, highlighting human experience and popular culture as the primary sources of artistic expression.

The aim of the current essay is to s tudy the similarity between the epis temology of John DEWEY and hermeneutical approach in philosophy. The author has sought to show that despite difference in intellectual origins of DEWEY and such hermeneuticis ts as Dilthey one can find considerable overlaps between the epis temological approach of DEWEY and the hermeneutical approach, and discern that they are basically of the same philosophical orientation. What is of a key role in the emergence of this interrelation is the concept of “ experience” . On the one hand, DEWEY seeks via formation of a specific notion of experience – that as we see is different from empiricis t’ s notion of experience – to found his epis temology without the mediation of any metaphysical and transcendental idea. On the other hand, in hermeneutics of Wilhelm Dilthey the notion of “ lived experience” is of central place. This comparison reveals that the unders tanding of these two approaches of the concept of experience has numerous similarities and how these similarities close their philosophical s tances to each other insofar as one can s tate that DEWEY’ s ins trumentalis t epis temology is indeed hermeneutical in its essence.