{'fraction_non_alphanumeric': 0.015518913676042677, 'fraction_numerical': 0.0038797284190106693, 'mean_word_length': 5.035087719298246, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Stuart Davis and the Politics of Experience

Stuart Davis is rightly recognized for the high‐profile role he played as a Marxist activist during the 1930s. But when he talked about the social function of his paintings he most often described art's link to experience—a term that for him encompassed a process of interaction with, perception of, and knowledge about the world—in a manner that relates as much to John Dewey's view as to those of his fellow Marxists. In declining to adopt the preference of many radical Marxists for a more naturalistic, figurative art with an overt sociopolitical message, Davis insisted on the ability of abstract art like his to communicate in the most vital way the dynamic dimensions of everyday experiences and to serve as a possible model for future action. Davis's faith in the transformative and democratic potential of a shared understanding of the American scene finds strong parallels in the nation's liberal tradition, especially as exemplified in the writings of philosopher John Dewey.