A Quote by John Dewey

Experience, in short, is not a combination of mind and world, subject and object, method and subject matter, but is a single continuous interaction of a great diversity (literally countless in number) of energies.
Experiences in order to be educative must lead out into an expanding world of subject matter, a subject matter of facts or information and of ideas. This condition is satisfied only as the educator views teaching and learning as a continuous process of reconstruction of experience.
The insidiousness of science lies in its claim to be not a subject, but a method. You could ignore a subject; no subject is all-inclusive. But a method can plausibly be applied to anything within the field of consciousness.
God is not a person; God is manifestation itself. We think that God is a superhuman person, but God is not a person. He is not a subject. We can never experience God in a subject/object experience. God is what makes a subject/object experience possible. We can never see God or experience God as separate from ourselves. God is a being but there is no division.
Cognitive states of mind are seldom addictive, since they depend upon exploration of the world, and the individual encounter with the individual object, whose appeal is outside the subject's control. Addiction arises when the subject has full control over a pleasure and can ponder it at will. It is primarily a matter of sensory pleasure, and involves a kind of short-circuiting of the pleasure network. Addiction is characterized by a loss of the emotional dynamic that would otherwise govern an outward-directed, cognitively creative life.
An object of art creates a public capable of finding pleasure in its beauty. Production, therefore, not only produces an object for the subject, but also a subject for the object.
He who thinks he can have flesh and bones without being subject to any external influence, or any accidents of matter, unconsciously wishes to reconcile two opposites, viz., to be at the same time subject and not subject to change. If man were never subject to change there could be no generation; there would be one single being, but no individuals forming a species.
The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
In creativity the way will be found for subject to pass into object, the identity of subject with object will be restored. All the great creators have foreseen this turning-point. Today, in the depths of culture itself and in all its separate spheres, this crisis of creativity is ripening.
Anthropology never has had a distinct subject matter, and because it doesn't have a real method, there's a great deal of anxiety over what it is
Anthropology never has had a distinct subject matter, and because it doesn't have a real method, there's a great deal of anxiety over what it is.
Method means that arrangement of subject matter which makes it most effective in use. Never is method something outside of the material.
[It] is not that television is entertaining but that it has made entertainment itself the natural format for the representation of all experience. […] The problem is not that television presents us with entertaining subject matter but that all subject matter is presented as entertaining. (87)
Thus inevitably does the universe wear our color, and every object fall successively into the subject itself. The subject exists, the subject enlarges; all things sooner or later fall into place. As I am, so I see; use what language we will, we can never say anything but what we are.
Many people will tell you that an expert is someone who knows a great deal about the subject. To this I would object that one can never know much about any subject. I would much prefer the following definition: an expert is someone who knows some of the worst mistakes that can be made in the subject, and how to avoid them.
I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.
Critic asks: 'And what, sir, is the subject matter of that painting?' - 'The subject matter, my dear good fellow, is the light.
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