The Essential Dewey: Pragmatism, Education, Democracy

The Essential Dewey: Pragmatism, Education, Democracy

by John Dewey
In addition to being one of the greatest technical philosophers of the 20th century, John Dewey was one of America's last great public intellectuals. Based on the award-wining 37-volume critical edition of Dewey's work, THE ESSENTIAL DEWEY presents in two volumes a collection that represents Dewey's thinking on every major issue to which he turned his attention. Vol.


In addition to being one of the greatest technical philosophers of the 20th century, John Dewey was one of America's last great public intellectuals. Based on the award-wining 37-volume critical edition of Dewey's work, THE ESSENTIAL DEWEY presents in two volumes a collection that represents Dewey's thinking on every major issue to which he turned his attention. Vol.

Editorial Reviews

Library Journal
Dewey (1859-1952) is probably best known to the public in general for his philosophy of education. This collection of his writings, covering the entire course of his intellectual development over time, will therefore provide a necessary corrective to this limited view by showing the depth and breadth of his philosophic interests. In the course of his long life, Dewey wrote and published on myriad topics: certainly, and perhaps most importantly to him, on public education, but also--and extensively--on technical philosophy, including metaphysics, epistemology, logic, aesthetics, religion, science, ethics, and social philosophy. And though neglected by academic philosophers for a time, Dewey's pragmatic orientation has recently proved influential in the thought of Quine, Putnam, and Rorty, among others. This two-volume collection of essays and book chapters, culled from an earlier 37-volume critical edition of his works, provides for the first time a publication of his writings that is both manageable and comprehensive. For academic and larger public libraries.--Leon H. Brody, U.S. Office of Personnel Mgt. Lib., Washingon, DC

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The Essential Dewey

Volume 2 Ethics, Logic, Psychology

By Larry A. Hickman, Thomas M. Alexander

Indiana University Press

Copyright © 1998 Indiana University Press
All rights reserved.
ISBN: 978-0-253-21184-2


The Reflex Arc Concept in Psychology


That the greater demand for a unifying principle and controlling working hypothesis in psychology should come at just the time when all generalizations and classifications are most questioned and questionable is natural enough. It is the very cumulation of discrete facts creating the demand for unification that also breaks down previous lines of classification. The material is too great in mass and too varied in style to fit into existing pigeon-holes, and the cabinets of science break of their own dead weight. The idea of the reflex arc has upon the whole come nearer to meeting this demand for a general working hypothesis than any other single concept. It being admitted that the sensori-motor apparatus represents both the unit of nerve structure and the type of nerve function, the image of this relationship passed over into psychology, and became an organizing principle to hold together the multiplicity of fact.

In criticizing this conception it is not intended to make a plea for the principles of explanation and classification which the reflex arc idea has replaced; but, on the contrary, to urge that they are not sufficiently displaced, and that in the idea of the sensori-motor circuit, conceptions of the nature of sensation and of action derived from the nominally displaced psychology are still in control.

The older dualism between sensation and idea is repeated in the current dualism of peripheral and central structures and functions; the older dualism of body and soul finds a distinct echo in the current dualism of stimulus and response. Instead of interpreting the character of sensation, idea and action from their place and function in the sensori-motor circuit, we still incline to interpret the latter from our preconceived and preformulated ideas of rigid distinctions between sensations, thoughts and acts. The sensory stimulus is one thing, the central activity, standing for the idea, is another thing, and the motor discharge, standing for the act proper, is a third. As a result, the reflex arc is not a comprehensive, or organic unity, but a patchwork of disjointed parts, a mechanical conjunction of unallied processes.

What is needed is that the principle underlying the idea of the reflex arc as the fundamental psychical unity shall react into and determine the values of its constitutive factors. More specifically, what is wanted is that sensory stimulus, central connections and motor responses shall be viewed, not as separate and complete entities in themselves, but as divisions of labor, functioning factors, within the single concrete whole, now designated the reflex arc.

What is the reality so designated? What shall we term that which is not sensation-followed-by-idea-followed-by-movement, but which is primary; which is, as it were, the psychical organism of which sensation, idea and movement are the chief organs? Stated on the physiological side, this reality may most conveniently be termed co-ordination. This is the essence of the facts held together by and subsumed under the reflex arc concept. Let us take, for our example, the familiar child-candle instance (James, Psychology, I, 25). The ordinary interpretation would say the sensation of light is a stimulus to the grasping as a response, the burn resulting is a stimulus to withdrawing the hand as response and so on. There is, of course, no doubt that is a rough practical way of representing the process. But when we ask for its psychological adequacy, the case is quite different. Upon analysis, we find that we begin not with a sensory stimulus, but with a sensori-motor co-ordination, the optical-ocular, and that in a certain sense it is the movement which is primary, and the sensation which is secondary, the movement of body, head and eye muscles determining the quality of what is experienced. In other words, the real beginning is with the act of seeing; it is looking, and not a sensation of light. The sensory quale gives the value of the act, just as the movement furnishes its mechanism and control, but both sensation and movement lie inside, not outside the act.

Now if this act, the seeing, stimulates another act, the reaching, it is because both of these acts fall within a larger co-ordination; because seeing and grasping have been so often bound together to reinforce each other, to help each other out, that each may be considered practically a subordinate member of a bigger coordination. More specifically, the ability of the hand to do its work will depend, either directly or indirectly, upon its control, as well as its stimulation, by the act of vision. If the sight did not inhibit as well as excite the reaching, the latter would be purely indeterminate, it would be for anything or nothing, not for the particular object seen. The reaching, in turn, must both stimulate and control the seeing. The eye must be kept upon the candle if the arm is to do its work; let it wander and the arm takes up another task. In other words, we now have an enlarged and transformed co-ordination; the act is seeing no less than before, but it is now seeing-for-reaching purposes. There is still a sensori-motor circuit, one with more content or value, not a substitution of a motor response for a sensory stimulus.

Now take the affair at its next stage, that in which the child gets burned. It is hardly necessary to point out again that this is also a sensori-motor co-ordination and not a mere sensation. It is worth while, however, to note especially the fact that it is simply the completion, or fulfillment, of the previous eye-arm-hand coordination and not an entirely new occurrence. Only because the heat-pain quale enters into the same circuit of experience with the optical-ocular and muscular quales, does the child learn from the experience and get the ability to avoid the experience in the future.

More technically stated, the so-called response is not merely to the stimulus; it is into it. The burn is the original seeing, the original optical-ocular experience enlarged and transformed in its value. It is no longer mere seeing; it is seeing-of-a-light-that-means-pain-when-contact-occurs. The ordinary reflex arc theory proceeds upon the more or less tacit assumption that the outcome of the response is a totally new experience; that it is, say, the substitution of a burn sensation for a light sensation through the intervention of motion. The fact is that the sole meaning of the intervening movement is to maintain, reinforce or transform (as the case may be) the original quale; that we do not have the replacing of one sort of experience by another, but the development (or as it seems convenient to term it) the mediation of an experience. The seeing, in a word, remains to control the reaching, and is, in turn, interpreted by the burning.

The discussion up to this point may be summarized by saying that the reflex arc idea, as commonly employed, is defective in that it assumes sensory stimulus and motor response as distinct psychical existences, while in reality they are always inside a co-ordination and have their significance purely from the part played in maintaining or reconstituting the co-ordination; and (secondly) in assuming that the quale of experience which precedes the "motor" phase and that which succeeds it are two different states, instead of the last being always the first reconstituted, the motor phase coming in only for the sake of such mediation. The result is that the reflex arc idea leaves us with a disjointed psychology, whether viewed from the standpoint of development in the individual or in the race, or from that of the analysis of the mature consciousness. As to the former, in its failure to see that the arc of which it talks is virtually a circuit, a continual reconstitution, it breaks continuity and leaves us nothing but a series of jerks, the origin of each jerk to be sought outside the process of experience itself, in either an external pressure of "environment," or else in an unaccountable spontaneous variation from within the "soul" or the "organism." As to the latter, failing to see the unity of activity, no matter how much it may prate of unity, it still leaves us with sensation or peripheral stimulus; idea, or central process (the equivalent of attention); and motor response, or act, as three disconnected existences, having to be somehow adjusted to each other, whether through the intervention of an extra-experimental soul, or by mechanical push and pull.

Before proceeding to a consideration of the general meaning for psychology of the summary, it may be well to give another descriptive analysis, as the value of the statement depends entirely upon the universality of its range of application. For such an instance we may conveniently take Baldwin's analysis of the reactive consciousness. In this there are, he says (Feeling and Will, p. 60), "three elements corresponding to the three elements of the nervous arc. First, the receiving consciousness, the stimulus—say a loud, unexpected sound; second, the attention involuntarily drawn, the registering element; and, third, the muscular reaction following upon the sound—say flight from fancied danger." Now, in the first place, such an analysis is incomplete; it ignores the status prior to hearing the sound. Of course, if this status is irrelevant to what happens afterwards, such ignoring is quite legitimate. But is it irrelevant either to the quantity or the quality of the stimulus?

If one is reading a book, if one is hunting, if one is watching in a dark place on a lonely night, if one is performing a chemical experiment, in each case, the noise has a very different psychical value; it is a different experience. In any case, what precedes the "stimulus" is a whole act, a sensori-motor co-ordination. What is more to the point, the "stimulus" emerges out of this co-ordination; it is born from it as its matrix; it represents as it were an escape from it. I might here fall back upon authority, and refer to the widely accepted sensation continuum theory, according to which the sound cannot be absolutely ex abrupto from the outside, but is simply a shifting of focus of emphasis, a redistribution of tensions within the former act; and declare that unless the sound activity had been present to some extent in the prior co-ordination, it would be impossible for it now to come to prominence in consciousness. And such a reference would be only an amplification of what has already been said concerning the way in which the prior activity influences the value of the sound sensation. Or, we might point to cases of hypnotism, mono-ideism and absent-mindedness, like that of Archimedes, as evidences that if the previous co-ordination is such as rigidly to lock the door, the auditory disturbance will knock in vain for admission to consciousness. Or, to speak more truly in the metaphor, the auditory activity must already have one foot over the threshold, if it is ever to gain admittance.

But it will be more satisfactory, probably, to refer to the biological side of the case, and point out that as the ear activity has been evolved on account of the advantage gained by the whole organism, it must stand in the strictest histological and physiological connection with the eye, or hand, or leg, or whatever other organ has been the overt centre of action. It is absolutely impossible to think of the eye centre as monopolizing consciousness and the ear apparatus as wholly quiescent. What happens is a certain relative prominence and subsidence as between the various organs which maintain the organic equilibrium.

Furthermore, the sound is not a mere stimulus, or mere sensation; it again is an act, that of hearing. The muscular response is involved in this as well as sensory stimulus; that is, there is a certain definite set of the motor apparatus involved in hearing just as much as there is in subsequent running away. The movement and posture of the head, the tension of the ear muscles, are required for the "reception" of the sound. It is just as true to say that the sensation of sound arises from a motor response as that the running away is a response to the sound. This may be brought out by reference to the fact that Professor Baldwin, in the passage quoted, has inverted the real order as between his first and second elements. We do not have first a sound and then activity of attention, unless sound is taken as mere nervous shock or physical event, not as conscious value. The conscious sensation of sound depends upon the motor response having already taken place; or, in terms of the previous statement (if stimulus is used as a conscious fact, and not as a mere physical event) it is the motor response or attention which constitutes that, which finally becomes the stimulus to another act. Once more, the final "element," the running away, is not merely motor, but is sensori-motor, having its sensory value and its muscular mechanism. It is also a co-ordination. And, finally, this sensori-motor co-ordination is not a new act, supervening upon what preceded. Just as the "response" is necessary to constitute the stimulus, to determine it as sound and as this kind of sound, of wild beast or robber, so the sound experience must persist as a value in the running, to keep it up, to control it. The motor reaction involved in the running is, once more, into, not merely to, the sound. It occurs to change the sound, to get rid of it. The resulting quale, whatever it may be, has its meaning wholly determined by reference to the hearing of the sound. It is that experience mediated. What we have is a circuit, not an arc or broken segment of a circle. This circuit is more truly termed organic than reflex, because the motor response determines the stimulus, just as truly as sensory stimulus determines movement. Indeed, the movement is only for the sake of determining the stimulus, of fixing what kind of a stimulus it is, of interpreting it.

I hope it will not appear that I am introducing needless refinements and distinctions into what, it may be urged, is after all an undoubted fact, that movement as response follows sensation as stimulus. It is not a question of making the account of the process more complicated, though it is always wise to beware of that false simplicity which is reached by leaving out of account a large part of the problem. It is a question of finding out what stimulus or sensation, what movement and response mean; a question of seeing that they mean distinctions of flexible function only, not of fixed existence; that one and the same occurrence plays either or both parts, according to the shift of interest; and that because of this functional distinction and relationship, the supposed problem of the adjustment of one to the other, whether by superior force in the stimulus or an agency ad hoc in the centre or the soul, is a purely self-created problem.

We may see the disjointed character of the present theory, by calling to mind that it is impossible to apply the phrase "sensori-motor" to the occurrence as a simple phrase of description; it has validity only as a term of interpretation, only, that is, as defining various functions exercised. In terms of description, the whole process may be sensory or it may be motor, but it cannot be sensori-motor. The "stimulus," the excitation of the nerve ending and of the sensory nerve, the central change, are just as much, or just as little, motion as the events taking place in the motor nerve and the muscles. It is one uninterrupted, continuous redistribution of mass in motion. And there is nothing in the process, from the standpoint of description, which entitles us to call this reflex. It is redistribution pure and simple; as much so as the burning of a log, or the falling of a house or the movement of the wind. In the physical process, as physical, there is nothing which can be set off as stimulus, nothing which reacts, nothing which is response. There is just a change in the system of tensions.

The same sort of thing is true when we describe the process purely from the psychical side. It is now all sensation, all sensory quale; the motion, as psychically described, is just as much sensation as is sound or light or burn. Take the withdrawing of the hand from the candle flame as example. What we have is a certain visual-heat-pain-muscular-quale, transformed into another visual-touch-muscular-quale—the flame now being visible only at a distance, or not at all, the touch sensation being altered, etc. If we symbolize the original visual quale by v, the temperature by h, the accompanying muscular sensation by m, the whole experience may be stated as vhm-vhm-vhm'; m being the quale of withdrawing, m' the sense of the status after the withdrawal. The motion is not a certain kind of existence; it is a sort of sensory experience interpreted, just as is candle flame, or burn from candle flame. All are on a par.


Excerpted from The Essential Dewey by Larry A. Hickman, Thomas M. Alexander. Copyright © 1998 Indiana University Press. Excerpted by permission of Indiana University Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Meet the Author

Larry A. Hickman is Director of the Center for Dewey Studies and Professor of Philosophy, Southern Illinois University at Carbondale. He is author of John Dewey’s Pragmatic Technology and editor of Technology as a Human Affair and Reading Dewey. He is also General Editor of The Collected Works of John Dewey, 1882-1953: The Electronic Edition.
Thomas M. Alexander is Professor of Philosophy at Southern Illinois University at Carbondale and the author of John Dewey’s Theory of Art, Experience, and Nature: The Horizons of Feeling.

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