Landscape is often seen as a predominantly visual aesthetic phenomenon, which is closely connected to painting. Georg Simmel calls landscape “a work of art _in statu nascendi._” Yet from a phenomenological point of view, landscape can also be seen as something we do not only view but also experience bodily, as something we walk through and live in. In this respect, there are many connections between landscape and the experience of space and place. For Edward Casey, it is important to (...) recognize that a landscape consists of places, which thus function as “its main modules, its prime numbers.” Consequently, the aesthetic experience of landscapes will have to take its located and situated character into account. In my contribution, I will draw on this line of thought and try to point out some key aspects of a phenomenological critique of reductive accounts of landscape and consider its relevance for the arts. As landscape and nature have become a prominent theme in artistic practices since the 1960s and 1970s, this paper will relate the philosophical discussion to artistic projects such as Richard Long’s art of walking. In his practice, the status of the work of art as well as a solely pictorial idea of landscape is questioned. (shrink)

Wesley Wildman is one of the foremost philosophers of religion calling for the evolution of the discipline from its present narrow focus on theistic beliefs to become a discipline concerned with religions in all their diversity. Towards this end, he proposes that philosophers of religion understand what they do as multidisciplinary comparative inquiry. This article assesses his proposal.

This essay seeks to show that military strategists have not only been acute philosophers of space but also philosophers of world history. The works of Albert Speer, Friedrich Ratzel, A. T. Mahan, Halford Mackinder, Carl Schmitt, Guilio Duohet, and Harlan K. Ullman are considered in terms of the ways in which space has been militarized, or rather how war spatializes world history. The geography of world history has been the topos of war.

I examine the ancient and perennial notion of the elements (stoicheia) and its relation to an idea of place proper (topos) and natural place (topos oikeios) in Aristotle's work. Through an exploration of his accounts, I argue that Aristotle develops a robust theory of place that is relevant to current environmental and geographical thought. In the process, he provides a domestic household and home for earth, air, fire and water that offers a supplement or an alternative to more abstract and (...) controversial uses of a conception of 'nature' (physis). I identify and elaborate upon environmental aspects of place-based and elemental philosophy. (shrink)

In this thesis the appropriate aesthetic evaluation of designed landscapes is explored. The overarching research question for this thesis is: What is an appropriate appreciation of a designed landscape as a designed landscape? This overarching research question is split into sub-questions. The first sub-question is: What is the current theoretical basis for the aesthetic evaluation of designed landscapes and does it provide appropriate arguments for aesthetic evaluations? Two important points about the aesthetic evaluation of designed landscapes were found in the (...) existing literature on environmental aesthetics and in critical evaluations of designed landscapes. Modern environmental aesthetics is focussed on natural environments as it has been shaped in response to early 20th century aesthetics, which was dominated by questions on art. The designed landscape phenomenologically related more to environments, but is ontologically closely related to artworks. Designed landscapes thus fall between two fields. The designed landscape has gone largely unacknowledged by philosophers and geographers. The lack of a specific theory for the appropriate appreciation of designed landscapes has made it easier for landscape architects and critics to miss out on the current insights of environmental aesthetics, leading to the inconsistent belief among landscape architects and landscape architecture critics that landscapes are scenic entities. Actual design criticism as offered in the Landscape Architecture Europe books is shown to be based on the inconsistent belief that aesthetic experiences of works of landscape architecture are mostly visual. To explore what an appropriate appreciation should be based in, first the ontology and phenomenology of one example, the post-war design for the landscape of Walcheren, is described and discussed. To explore its ontology, a literature research has revealed the design process and decisions. To explore the phenomenology, the descriptions of two walks on the island made by the author were analysed. The descriptions of ontology and phenomenology of Walcheren offer insights into the relevance for the aesthetic evaluation of this landscape of being designed and of the sensorial richness of this designed landscape. In both fields of ontology and phenomenology insights into aesthetic value go beyond the visible. The second and third part of the research answers the sub-questions about appropriate appreciation regarding respectively ontology and phenomenology of designed landscapes in general. The literature on topics adjacent to the field of landscape architecture, such as design and architecture aesthetics, was surveyed for aspects that might also be relevant for the aesthetic evaluation of landscape architecture. These aspects were then weighed according to a philosophical method of reasoning from first principles. Starting from a principle of appropriate appreciation, different cues were tested to see whether or not they have to be considered in such an appropriate appreciation. Following descriptions of the True Appreciation Principle (TAP) as provided by Lopes, cues were tested against the Appropriate Appreciation Principle for Designed Landscapes (AAP-DL): An appreciation of landscape L as a designed landscape is appropriate only as far as it does not depend counterfactually on any belief that is inconsistent with the truth about the nature of designed landscapes. Examples are provided where cues can influence one’s evaluation, and evaluation thus depends counterfactually on those taking those cues into account. If something might influence one’s evaluation one should consider it. The exploration has provided important cues for the aesthetic evaluation of designed landscapes. The findings are the base of an evaluative framework that takes into account the ontology and phenomenology of designed landscapes in order to evaluate designed landscapes according the AAP-DL. A discussion is provided on the importance of such an appropriate appreciation for different audiences. (shrink)

The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...) the viability of his relational nondualist ontology is defended against accusations that it has not gone beyond dualism or that it has collapsed into a monism. (shrink)