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)

Positive aesthetics holds that the natural environment, insofar as it is unaffected by man, has only positive aesthetic qualities and value-that virgin nature is essentially beautiful. In spite of the initial implausibility of this position, it is nonetheless suggested by many individuals who have given serious thought to the natural environment and to environmental philosophy. Certain attempts to defend theposition involve claiming either that it is not implausible because our appreciation of nature is not genuinely aesthetic, or that the position (...) is justified in virtue of man’s limited control and understanding of the natural world or in virtue of the natural world’s divine design and origin. Such attempts are inadequate; they neither justify the position nor explain its acceptance. In order to account for positive aesthetics,we must note the intimate connection between nature appreciation and the development of natural science. An understanding of the role of scientific knowledge in the aesthetic appreciation of nature not only sheds light on the acceptance of the positive aesthetics position, but also suggests a means by which to justify it. (shrink)

Environmental aesthetics is a relatively new sub-field ofphilosophical aesthetics. It arose within analytic aesthetics in thelast third of the twentieth century. Prior to its emergence,aesthetics within the analytic tradition was largely concerned withphilosophy of art. Environmental aesthetics originated as a reactionto this emphasis, pursuing instead the investigation of the aestheticappreciation of natural environments. Since its early stages, thescope of environmental aesthetics has broadened to include not simplynatural environments but also human and human-influenced ones. At thesame time, the discipline has also (...) come to include the examination ofthat which falls within such environments, giving rise to what iscalled the aesthetics of everyday life. This area involves theaesthetics of not only more common objects and environments, but alsoa range of everyday activities. Thus, early in the twenty-firstcentury, environmental aesthetics embraced the study of the aestheticsignificance of almost everything other than art. Together with thisbroader scope of environmental aesthetics, the twenty-first centuryhas also given rise to renewed and more intense investigations of therelationship between environmental aesthetics and environmentalism aswell as to several new interests and directions. (shrink)

This essay is an overview of recent research aimed at establishing a link between environmental aesthetics and environmental ethics. I review the work of several prominent environmental philosophers and environmental aestheticians, spelling out some of the difficulties confronting various attempts to find such a link. While I argue that a case can be made for a connection between environmental aesthetics and environmental ethics concerning human‐created and human‐influenced environments, I find that there are a number of problems facing attempts to establish (...) a similar connection for natural or pristine environments. I examine some attempts to support such a connection, including each of two different accounts of the aesthetic appreciation of nature in contemporary Western environmental aesthetics as well as the union of these two accounts, sometimes called ecoaesthetics. I briefly discuss two Western versions of ecoaesthetics and then turn to research by Chinese aestheticians, who defend a more robust version of ecoaesthetics. I suggest that this latter work may succeed in connecting environmental aesthetics and environmental ethics, although not in exactly the way in which such a link has been pursued by Western philosophers. (shrink)

Traditional aesthetics is often associated with the appreciation of art, Allen Carlson shows how much of our aesthetic experience does not encompass art but nature. He argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that scientific understanding of nature can enhance our appreciation of it, rather than denigrate it.

The essays in the final section explicitly bring together aesthetics, ethics, and environmentalism to explore the ways in which each might affect the others.

The development and nature of environmental aesthetics -- Aesthetic appreciation and the natural environment -- The requirements for an adequate aesthetics of nature -- Aesthetic appreciation and the human environment -- Appreciation of the human environment under different conceptions -- Aesthetic appreciation and the agricultural landscape -- What is the correct way to aesthetically appreciate landscapes?

The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature and value of (...) natural beauty, the relationship between art appreciation and nature appreciation, the role of knowledge in the aesthetic appreciation of nature, the importance of environmental participation to the appreciation of environments, and the connections between the aesthetic appreciation of nature and our ethical obligations concerning its maintenance and preservation. This volume is for scholars and students focussed on nature, landscapes, and environments, individuals in areas such as aesthetics, environmental ethics, geography, environmental studies, landscape architecture, landscape ecology, and the planning and design disciplines. It is also for any reader interested in and concerned about the aesthetic quality of the world in which we live. (shrink)

The roots of environmental aesthetics reach back to the ideas of eighteenth-century thinkers who found nature an ideal source of aesthetic experience. Today, having blossomed into a significant subfield of aesthetics, environmental aesthetics studies and encourages the appreciation of not just natural environments but also human-made and human-modified landscapes. _Nature and Landscape_ is an important introduction to this rapidly growing area of aesthetic understanding and appreciation. Allen Carlson begins by tracing the development of the field's historical background, and then surveys (...) contemporary positions on the aesthetics of nature, such as scientific cognitivism, which holds that certain kinds of scientific knowledge are necessary for a full appreciation of natural environments. Carlson next turns to environments that have been created or changed by humans and the dilemmas that are posed by the appreciation of such landscapes. He examines how to aesthetically appreciate a variety of urban and rural landscapes and concludes with a discussion of whether there is, in general, a correct way to aesthetically experience the environment. (shrink)

Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective and (...) morally engaged. I then examine two contemporary positions concerning appropriate aesthetic appreciation of nature, the aesthetics of engagement and scientific cognitivism, assessing each in terms of the requirements of environmentalism. (shrink)

Positive aesthetics holds that the natural environment, insofar as it is unaffected by man, has only positive aesthetic qualities and value-that virgin nature is essentially beautiful. In spite of the initial implausibility of this position, it is nonetheless suggested by many individuals who have given serious thought to the natural environment and to environmental philosophy. Certain attempts to defend theposition involve claiming either that it is not implausible because our appreciation of nature is not genuinely aesthetic, or that the position (...) is justified in virtue of man’s limited control and understanding of the natural world or in virtue of the natural world’s divine design and origin. Such attempts are inadequate; they neither justify the position nor explain its acceptance. In order to account for positive aesthetics,we must note the intimate connection between nature appreciation and the development of natural science. An understanding of the role of scientific knowledge in the aesthetic appreciation of nature not only sheds light on the acceptance of the positive aesthetics position, but also suggests a means by which to justify it. (shrink)

Recently, several authors have defended a new version of formalism in the aesthetics of nature and attempted to refute earlier arguments against the doctrine. In this essay, we assess this new formalism by reconsidering the force of antiformalist arguments against both traditional formalism and new formalism. While we find that these arguments remain effective against traditional formalism, new formalism falls largely beyond their scope. We therefore provide a novel line of argument for the insignificance of the formal appreciation of nature. (...) This argument suggests that new formalism is inadequate as a theory of the aesthetics of nature. (shrink)

The Aesthetics of Human Environments is a companion volume to Carlson's and Berleant's The Aesthetics of Natural Environments. Whereas the earlier collection focused on the aesthetic appreciation of nature, The Aesthetics of Human Environments investigates philosophical and aesthetics issues that arise from our engagement with human environments ranging from rural landscapes to urban cityscapes. Our experience of public spaces such as shopping centers, theme parks, and gardens as well as the impact of our personal living spaces on the routine activities (...) of our everyday life are discussed in terms of their aesthetic value and the nature of our aesthetic appreciation. This volume will appeal to any reader concerned about the aesthetic quality of the world in which we live. (shrink)

Over the last few decades, a renewed interest in the philosophical study of the aesthetic appreciation of nature has developed within Western analytic aesthetics.1 In philosophical aesthetics, especially in North America and Western Europe, the resultant field of research is generally known as ‘environmental aesthetics.’2 More recently, a related area of philosophical study has arisen in the East, primarily in China. However, in this case, the field of research is typically called ‘ecological aesthetics’ or, as it is also labeled, ‘ecoaesthetics’.3 (...) The question that this poses is that of the relationship between the ecoaesthetics developed in China and the environmental aesthetics developed... (shrink)

In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. (...) By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty, Heizer's Double Negative, Singer's Lily Pond Ritual Series, and Christo's Running Fence. (shrink)

This essay presents a methodological framework for assessing the adequacy of philosophical accounts of the aesthetic appreciation of nature. The framework involves five requirements, each of which is labeled after a philosopher who has defended it. They are called Ziff's Anything Viewed Doctrine, Budd's As Nature Constraint, Berleant's Unified Aesthetics Requirement, Hepburn's Serious Beauty Intuition, and Thompson's Objectivity Desideratum. The conclusion of the essay is that most contemporary treatments of the aesthetics of nature fail to comply with one or more (...) of these requirements and that only Scientific Cognitivism satisfies the framework consisting of all five. (shrink)

In this essay I attempt to move the aesthetics of human environments away from what I call the designer landscape approach. This approach to appreciating human environments involves a cluster of ideas and assumptions such as: that human environments are usefully construed as being in general ''deliberately designed'' and worthy of aesthetic consideration only in so far as they are so designed, that human environments are in this way importantly similar to works of art, and that the aesthetics of human (...) environments thus has much in common with the aesthetics of art. As an alternative to the designer landscape approach, I suggest that the aesthetics of human environments should be understood as a major area of the aesthetics of everyday life. To facilitate this shift I develop the idea of an ecological approach to the aesthetics of human environments and the related notion of functional fit. The ecological approach employs an analogy with natural ecosystems and, by stressing the role of functional fit in each, facilitates the appreciation of both natural and human environments in a way that I characterize as ''looking as they should.'' The upshot, I maintain, is a set of appreciative consequences constituting a more satisfying aesthetic experience of our everyday human environments. (shrink)

Hume’s mysterious words, “we must distinguish betwixt personal identity, as it regards our thought or imagination, and as it regards our passions or the concern we take in ourselves” have been the focus of a variety of different interpretations, some more creative than others. But the solution to this interpretative problem is indeed very simple, too simple to occur to most readers. What Hume has in mind is actually nothing but the different ways association works with regard to, on the (...) one hand, imagination, and, on the other hand, passion. Hence, one may easily read the entire Treatise as containing just one idea of self, that is, the bundle of perceptions discussed in “On personal identity.” Contrary to what many scholars have recently suggested, this idea may very well be “the idea, or rather impression” of self at play in the mechanism of sympathy, as well as the object of pride and humility. This faithful but dull reading makes Hume coherent, probably more coherent than any two-ideas interpretation does. (shrink)

Background: This study tested the core tenets of how facial scars are perceived by characterizing layperson response to faces with scars. The authors predicted that scars closer to highly viewed structures of the face (i.e., upper lip and lower lid), scars aligned against resting facial tension lines, and scars in the middle of anatomical subunits of the face would be rated less favorably. Methods: -/- Volunteers aged 18 years and older from the United States were recruited through Amazon’s Mechanical Turk (...) to complete a face rating survey. Scars were digitally added in different locations and orientations for a total of 14 unique scars added to each face. Each participant rated 50 different faces on confidence, friendliness, and attractiveness. Data were analyzed using linear mixed effects models. Results: -/- A total of 88,850 ratings [82,990 scarred (93.4 percent)] for attractiveness, friendliness, and confidence were analyzed. In univariate linear mixed effects models, the presence of a facial scar did not significantly impact attractiveness (β = 0.016, SE = 0.014, z = 1.089, p = 0.276). A second set of linear mixed effects models identified interactions between location, subunit placement, and orientation to facial tension lines. Scars located on the lower lid mid subunit perpendicular to facial tension lines were rated less attractive (β = −0.065, SE = 0.028, z = −2.293, p = 0.022). Conclusions: -/- On average, a single well-healed facial scar does not negatively affect first impressions of attractiveness, confidence, or friendliness. Specific scar location and orientation combinations, however, such as a perpendicular scar at the mid-lower eyelid, may result in lower perceived attractiveness, confidence, and friendliness. (shrink)

This article is a response to yuriko saito's "is there a correct aesthetic appreciation of nature?" (jae 18:4) which challenges the position on the aesthetic appreciation of nature that i develop in a series of recent articles. i here consider saito's arguments, concluding that they neither establish the correctness of a wide range of kinds of aesthetic appreciations of nature nor undercut the grounds for the prominence i grant to scientific considerations in such appreciation.

In the Treatise, Hume writes several seemingly incompatible things about the moral sentiments, thus there is no general agreement about where they fit within his taxonomy of the perceptions. Some passages speak in favor of the view that moral sentiments are indirect passions, a few in favor of the view that they are direct passions, and yet a couple of explicit statements strongly suggest otherwise. Due to these tensions in Hume’s text, we find at least five competing characterizations in the (...) literature: • Moral sentiments are calm emotions. • Moral sentiments are calm direct passions. • Moral sentiments are calm versions of the indirect passions of love or hatred. • Moral sentiments are unique species of calm indirect passions. • Moral sentiments are indirect secondary impressions. This paper assesses each of these interpretations. When their virtues are brought together, a new interpretation of the origin of moral sentiments starts to emerge. (shrink)

Taking Parenting Public makes a compelling case that parenting has become dangerously undervalued in America today. It calls for a new investment—both personal and public—into the work of raising children and argues that we are all "stockholders" in the next generation. With a foreword by Sylvia Ann Hewlett and Cornel West, Taking Parenting Public crosses boundaries to bring together thinkers from diverse fields spanning the political spectrum. It features contributions from distinguished experts in economics, political science, public policy, child development, (...) public health, history, and the media. While recent books have focused on working mothers or absent fathers, Taking Parenting Public is the first volume to take a comprehensive look at the common struggles of parents. These essays go beyond the usual chest-beating about busy parents torn between work and family demands to suggest bold solutions. Instead of the typical call for "parent replacement"—more child care, more after school programs and more mentors—the contributors offer fresh strategies for "parent replenishment," ways to put mothers and fathers back into the lives of their children not only as economic providers, but also as emotional and moral providers. (shrink)