: In this paper, I lay out a case for why those objects of aesthetic attention which are principally characterized as natural objects should be understood not statically, as existing in merely a three-dimensional fixed state, but as dynamic, as existing in a space-time context, complete with change, movement, and flux. After this, I explain why this is important, how the dynamic nature of natural objects raises a concern for aesthetically evaluating natural objects, and how that concern may be addressed.

In this paper, I lay out a case for why those objects of aesthetic attention which are principally characterized as natural objects should be understood not statically, as existing in merely a three-dimensional fixed state, but as dynamic, as existing in a space-time context, complete with change, movement, and flux. After this, I explain why this is important, how the dynamic nature of natural objects raises a concern for aesthetically evaluating natural objects, and how that concern may be addressed.

Why do gardens matter so much and mean so much to people? That is the intriguing question to which David Cooper seeks an answer in this book. Given the enthusiasm for gardens in human civilization ancient and modern, Eastern and Western, it is surprising that the question has been so long neglected by modern philosophy. Now at last there is a philosophy of gardens. David Cooper identifies garden appreciation as a special human phenomenon distinct from both from the appreciation of (...) art and the appreciation of nature. He discusses the contribution of gardening and other garden-related pursuits to "the good life." And he distinguishes the many kinds of meanings that gardens may have, from their representation of nature to their spiritual significance. A Philosophy of Gardens will open up this subject to students and scholars of aesthetics, ethics, and cultural and environmental studies, and to anyone with a reflective interest in things horticultural. (shrink)

: In this paper we discuss ethical and aesthetic questions in relation to the gardening practice of topiary. We begin by considering the ethical concerns arising from the uneasiness some appreciators might feel when experiencing topiary as a manipulation or contortion of natural processes. We then turn to ways in which topiary might cause an 'aesthetic affront' through the humanizing effects of sentimentality and falsification of nature (most often found in representational rather than abstract topiary). Our contention is that successful (...) topiary emerges through a dynamic and positive relationship between topiarist and tree, where the gardener works with nature's forms instead of in strong opposition to them. Appreciation of successful topiary, we shall argue, is marked by an experience of both the tree as a living thing and the artifice which has shaped it. (shrink)

Aesthetics and the Environment presents fresh and fascinating insights into our interpretation of the environment. Traditional aesthetics is often associated with the appreciation of art, but Allen Carlson shows how much of our aesthetic experience does not encompass art but nature--in our response to sunsets, mountains or horizons or more mundane surroundings, like gardens or the view from our window. Carlson argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that (...) a scientific understanding of nature can enhance our appreciation of it, rather than denigrate it. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)