64 found
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  1. The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature.Emily Brady - 2013 - New York, NY: Cambridge University Press.
    In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...)
     
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  2. Aesthetics of the natural environment.Emily Brady - 2003 - Tuscaloosa: University of Alabama Press.
    Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...
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  3. Global Climate Change and Aesthetics.Emily Brady - 2022 - Environmental Values 31 (1):27-46.
    What kinds of issues does the global crisis of climate change present to aesthetics, and how will they challenge the field to respond? This paper argues that a new research agenda is needed for aesthetics with respect to global climate change (GCC) and outlines a set of foundational issues which are especially pressing: (1) attention to environments that have been neglected by philosophers, for example, the cryosphere and aerosphere; (2) negative aesthetics of environment, in order to grasp aesthetic experiences, meanings, (...)
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  4.  58
    Environmental Aesthetics and Rewilding.Jonathan Prior & Emily Brady - 2017 - Environmental Values 26 (1):31-51.
    This paper explores the practice of rewilding and its implications for environmental aesthetic values, qualities and experiences. First, we consider the temporal dimensions of rewilding in regard to the emergence of particular aesthetic qualities over time, and our aesthetic appreciation of these. Second, we discuss how rewilding potentially brings about difficult aesthetic experiences, such as the unscenic and the ugly. Finally, we make progress in critically understanding how rewilding may be understood as a distinctive form of ecological restoration, while resisting (...)
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  5. Imagination and the aesthetic appreciation of nature.Emily Brady - 1998 - Journal of Aesthetics and Art Criticism 56 (2):139-147.
  6.  77
    Aesthetic Value, Ethics and Climate Change.Emily Brady - 2014 - Environmental Values 23 (5):551-570.
    Philosophical discussions of climate change have mainly conceived of it as a moral or ethical problem, but climate change also raises new challenges for aesthetics. In this paper I show that, in particular, climate change (1) raises difficult questions about the status of aesthetic judgments about the future, or 'future aesthetics'; and (2) puts into relief some challenging issues at the intersection of aesthetics and ethics. I maintain that we can rely on aesthetic predictions to enable us to grasp, in (...)
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  7.  41
    Environmental Virtue Aesthetics.Nicole Hall & Emily Brady - 2023 - British Journal of Aesthetics 63 (1):109-126.
    How should we characterize the interaction between moral and aesthetic values in the context of environmental aesthetics? This question is important given the urgency of many environmental problems and the particular role played by aesthetic value in our experience of environment. To address this question, we develop a model of Environmental Virtue Aesthetics (EVA) that, we argue, offers a promising alternative to current theories in environmental aesthetics with respect to the relationship between aesthetics and ethics. EVA counters environmental aesthetic theories (...)
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  8.  16
    Ugliness and Nature.Emily Brady - 2010 - Enrahonar: Quaderns de Filosofía 45:27-40.
  9. Aesthetic concepts: essays after Sibley.Emily Brady & Jerrold Levinson (eds.) - 2001 - New York: Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  10. The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature.Malcolm Budd & Emily Brady - 2005 - Philosophical Quarterly 55 (218):106-113.
     
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  11. Reassessing Aesthetic Appreciation of Nature in the Kantian Sublime.Emily Brady - 2012 - Journal of Aesthetic Education 46 (1):91-109.
    The sublime has been a relatively neglected topic in recent work in philosophical aesthetics, with existing discussions confined mainly to problems in Kant's theory.1 Given the revival of interest in his aesthetic theory and the influence of the Kantian sublime compared to other eighteenth-century accounts, this focus is not surprising. Kant's emphasis on nature also sets his theory apart from other eighteenth-century theories that, although making nature central, also give explicit attention to moral character and mathematical ideas and generally devote (...)
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  12. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Frank Sibley, John Benson, Betty Redfern, Jeremy Roxbee Cox, Emily Brady & Jerrold Levinson - 2002 - Philosophical Quarterly 52 (207):237-246.
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  13.  21
    Between Nature and Culture: The Aesthetics of Modified Environments.Emily Brady, Isis Brook & Jonathan Prior - 2018 - New York: Rowman & Littlefield International.
    This book provides a systematic, philosophical account of the main issues that pertain to the aesthetics of modified environments, as well as new insights concerning the generation and appreciation of landscapes and environments that fall between nature and culture, including gardens and ecologically restored landscapes.
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  14.  61
    Aesthetics in Practice: Valuing the Natural World.Emily Brady - 2006 - Environmental Values 15 (3):277 - 291.
    Aesthetic value, often viewed as subjective and even trivial compared to other environmental values, is commonly given low priority in policy debates. In this paper I argue that the seriousness and importance of aesthetic value cannot be denied when we recognise the ways that aesthetic experience is already embedded in a range of human practices. The first area of human practice considered involves the complex relationship between aesthetic experience and the development of an ethical attitude towards the environment. I then (...)
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  15. Melancholy as an aesthetic emotion.Emily Brady & Arto Haapala - 2003 - Contemporary Aesthetics 1.
    In this article, we want to show the relevance and importance of melancholy as an aesthetic emotion. Melancholy often plays a role in our encounters with art works, and it is also present in some of our aesthetic responses to the natural environment. Melancholy invites aesthetic considerations to come into play not only in well-defined aesthetic contexts but also in everyday situations that give reason for melancholy to arise. But the complexity of melancholy, the fact that it is fascinating in (...)
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  16.  89
    Aesthetic character and aesthetic integrity in environmental conservation.Emily Brady - 2002 - Environmental Ethics 24 (1):75-91.
    Aesthetics plays an important role in environmental conservation. In this paper, I pin down two key concepts for understanding this role, aesthetic character and aesthetic integrity. Aesthetic character describes the particularity of an environment based on its aesthetic and nonaesthetic qualities. In the first part, I give an account of aesthetic character through a discussion of its subjective and objective bases, and I argue for an awareness of the dynamic nature of this character. In the second part, I consider aesthetic (...)
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  17. The aesthetics of agricultural landscapes and the relationship between humans and nature.Emily Brady - 2006 - Ethics, Place and Environment 9 (1):1 – 19.
    The continuum between nature and artefact is occupied by objects and environments that embody a relationship between natural processes and human activity. In this paper, I explore the relationship that emerges through human interaction with the land in the generation and aesthetic appreciation of industrial farming in contrast to more traditional agricultural practices. I consider the concept of a dialectical relationship and develop it in order to characterise the distinctive synthesising activity of humans and nature which underlies cultivated environments. I (...)
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  18. The Ugly Truth: Negative Aesthetics and Environment.Emily Brady - 2011 - Royal Institute of Philosophy Supplement 69:83-99.
    In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an hour (...)
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  19. Adam Smith's ''Sympathetic Imagination'' and the Aesthetic Appreciation of Environment.Emily Brady - 2011 - Journal of Scottish Philosophy 9 (1):95-109.
    This paper explores the significance of Adam Smith's ideas for defending non-cognitivist theories of aesthetic appreciation of nature. Objections to non-cognitivism argue that the exercise of emotion and imagination in aesthetic judgement potentially sentimentalizes and trivializes nature. I argue that although directed at moral judgement, Smith's views also find a place in addressing this problem. First, sympathetic imagination may afford a deeper and more sensitive type of aesthetic engagement. Second, in taking up the position of the impartial spectator, aesthetic judgements (...)
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  20.  52
    Aesthetic Value as a Relational Value.Emily Brady - 2023 - Journal of Aesthetics and Art Criticism 81 (1):81-82.
    Aesthetic value is a kind of value that emerges out of a variety of relations with the world. My interest here is not in developing a theory of relational aesth.
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  21.  54
    John Muir's Environmental Aesthetics: Interweaving the Aesthetic, Religious, and Scientific.Emily Brady - 2018 - Journal of Aesthetics and Art Criticism 76 (4):463-472.
    This article explores John's Muir's writings in order to construct a Muirian environmental aesthetics. To this end, I draw out three key features. First is the aesthetic category of sublimity as it emerges in his explorations of Yosemite. Second, a distinctive, pluralistic environmental aesthetics is found through his interweaving of aesthetic, religious, and scientific ideas. Third, his journals from the Thousand‐Mile Walk reveal an active and situated aesthetics, shaped by his practice of exploring and communing with nature. Together, these features (...)
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  22.  16
    Environmental Aesthetics and Global Climate Change.Emily Brady - 2023 - In Pellegrino Gianfranco & Marcello Di Paola (eds.), Handbook of Philosophy of Climate Change. Springer Nature. pp. 395-414.
    What are the aesthetic transformations taking place through the effects of global warming and human responses to these effects? How should we conceptualize aesthetic environmental change, especially in the context of intergenerational concern for both nonhumans and humans? As the earth’s systems and its organisms experience climate change, these kinds of questions require an understanding of the aesthetic qualities, meanings, and values of lost species, places, and landscapes, as well as those which emerge through mediation and adaptation. The experience of (...)
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  23.  54
    Don't Eat the Daisies: Disinterestedness and the Situated Aesthetic.Emily Brady - 1998 - Environmental Values 7 (1):97 - 114.
    In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, (...)
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  24. Environmental Aesthetics.Emily Brady - 2008 - In J. Baird Callicott & Robert Frodeman (eds.), The encyclopedia of environmental ethics and philosophy. Macmillan Reference. pp. 313--321.
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  25. Aesthetic regard for nature in environmental and land art.Emily Brady - 2007 - Ethics, Place and Environment 10 (3):287 – 300.
    Recent work in environmental ethics has seen a pragmatic turn that emphasises the importance of developing positive relationships with nature through practices involved in, for example, ecological restoration and community gardens. This article explores whether environmental and land art-making encourages positive aesthetic-moral relationships between nature and humans. It critically examines a particular type of aesthetic objection to these kinds of artworks and defends the work of Robert Smithson and Andy Goldsworthy, among others, against this charge. It is argued that rather (...)
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  26.  46
    Sublimity: The Non-Rational and the Irrational in the History of Aesthetics.Emily Brady - 2007 - Journal of Aesthetics and Art Criticism 65 (2):242-244.
  27. WHP logo Environmental Values.Emily Brady - 2006 - Environmental Values 15:277-291.
     
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  28.  17
    Don't Eat the Daisies: Disinteredness and the Situated Aesthetic.Emily Brady - 1998 - Environmental Values 7 (1):97-114.
    In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, (...)
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  29.  5
    Imagination and Freedom in the Kantian Sublime.Emily Brady - 2013 - In Michael L. Thompson (ed.), Imagination in Kant's Critical Philosophy. Walter de Gruyter. pp. 163-182.
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  30.  15
    Temporality and intergenerational thinking in aesthetics.Emily Brady - 2022 - Studi di Estetica 24.
    Environmental changes on a vast scale have motivated philosophers to consider problems related to intergenerational justice and future generations of people, nonhumans, and the earth they inhabit. How should the field of aesthetics respond? The aim of this special issue of “Studi di Estetica” is to create space for scholars to bring temporality and intergenerational aesthetics more deeply into the field. The articles here are focused on temporality in art, nature, modified environments and relationships between them. In this introductory essay, (...)
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  31.  11
    Human-Environment Relations: Transformative Values in Theory and Practice.Emily Brady & Pauline Phemister (eds.) - 2012 - Springer.
    This fresh and innovative approach to human-environmental relations will revolutionise our understanding of the boundaries between ourselves and the environment we inhabit. The anthology is predicated on the notion that values shift back and forth between humans and the world around them in an ethical communicative zone called ‘value-space’. The contributors examine the transformative interplay between external environments and human values, and identify concrete ways in which these norms, residing in and derived from self and society, are projected onto the (...)
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  32.  5
    The Man behind the Curtain: What Cognitive Science Reveals about Drawing.Andrea Kantrowitz, David Wong, Tyson E. Lewis, K. E. Gover, Sophie Bourgault, Azlan Iqbal, Emily Brady, Mordechai Gordon & Todd Parker - 2012 - The Journal of Aesthetic Education 46 (1):1-14.
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  33.  26
    Report on Books and Articles.Elisa Aaltola, Gary Backhaus, John Murungi, Jennifer Bates, Emily Brady, Emily Brady Haapala, J. Baird Callicott & Robert L. Chapman - 2003 - Environmental Ethics 24 (2):75-91.
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  34.  17
    Humans in the land: the ethics and aesthetics of the cultural landscape.Sven Arntzen & Emily Brady (eds.) - 2008 - Oslo: Unipub.
    The concept of cultural landscape was first put to use by the German geographer Friedrich Ratzel in 1895. The American geographer Carl Sauer was probably the first to use the concept in the English language in 1925. In recent years, the concept of cultural landscape has become significant in social and political decision-making, and in environmental management and preservation. Cultural landscape has also become the object of extensive consideration and discussion within diverse academic disciplines and areas of research, such as (...)
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  35. Humans in the land. The ethics and aesthetics of the cultural landscape Oslo: Oslo Academic Press.Sven Arntzen & Emily Brady - 2010 - Enrahonar: Quaderns de Filosofía 45:173-193.
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  36.  60
    Pragmatic Aesthetics and the Autistic Artist.Deborah Barnbaum, Kyle Hunter, Sophie Bourgault, Emily Brady, Andrea Bramberger, Howard Cannatella, Carla Carmona Escalera, Arne De Boever & J. Grube - 2012 - The Journal of Aesthetic Education 46 (4):48-56.
    There are many prominent examples of artists with autism. However, even when confronted with evidence of these accomplished autistic savants, pragmatic aesthetic theories cannot adequately account for the work of these accomplished artists as artists. This article first examines the nature of autism and explores a prominent psychological theory that purports to explain autistic symptoms. This prominent theory, the theory of mind thesis, holds that autistic symptoms are the result of the failure of persons with autism to make certain types (...)
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  37.  34
    Aesthetics and Nature.Emily Brady - 2010 - British Journal of Aesthetics 50 (1):114-117.
    (No abstract is available for this citation).
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  38.  52
    Aesthetic Character and Aesthetic Integrity in Environmental Conservation.Emily Brady - 2002 - Environmental Ethics 24 (1):75-91.
    Aesthetics plays an important role in environmental conservation. In this paper, I pin down two key concepts for understanding this role, aesthetic character and aesthetic integrity. Aesthetic character describes the particularity of an environment based on its aesthetic and nonaesthetic qualities. In the first part, I give an account of aesthetic character through a discussion of its subjective and objective bases, and I argue for an awareness of the dynamic nature of this character. In the second part, I consider aesthetic (...)
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  39.  11
    Animal Relations.Emily Brady - 2009 - Environmental Values 18 (1):1 - 4.
  40. Adam Smith's Aesthetic Psychology.Emily Brady & Nicole Hall - 2020 - In Karl Axelsson, Camilla Flodin & Mattias Pirholt (eds.), Beyond Autonomy in Eighteenth-Century British and German Aesthetics. New York: Routledge. pp. 112-131.
     
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  41.  17
    Announcing the Winner of the Holmes Rolston, III Early Career Essay Prize.Emily Brady & Eugene C. Hargrove - 2011 - Environmental Ethics 33 (3):228-228.
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  42. Aesthetic Value, Nature, and Environment.Emily Brady - 2017 - In Stephen M. Gardiner & Allen Thompson (eds.), Oxford Handbook of Environmental Ethics. Oxford University Press.
    This chapter discusses key issues and questions about aesthetic experience and valuing of natural objects, processes, and phenomena. It begins by exploring the character of environmental, multisensory aesthetic appreciation and then examines the central debate between “scientific cognitivism” and “noncognitivism” in contemporary environmental aesthetics. In assessing this debate and the place of knowledge, imagination, and emotion in aesthetic valuing, it is argued that non-cognitive approaches have the advantage of supporting a critical pluralism that recognizes the variety and breadth of aesthetic (...)
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  43.  5
    Environment and Philosophy.Emily Brady & with Jane Howarth - 1999 - Routledge.
    Environment and Philosophyprovides an accessible introduction to the radical challenges that environmentalism poses to concepts that have become almost second nature in the modern world. These include: * the ideas of science and objectivity * the conventional placement of the human being within the environment * the individualism of convential Modern thought Written in an accessible way for those without a background in philosophy, this text examines ways of thinking about ourselves, nature and our relationship with nature. It offers an (...)
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  44.  14
    Editorial: Animal Relations.Emily Brady - 2009 - Environmental Values 18 (1):1-4.
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  45. Ethics and the Built Environment.Emily Brady & Fox Warwick - 2002 - Environmental Values.
     
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  46.  24
    Interpreting Environments.Emily Brady - 2002 - Essays in Philosophy 3 (1):57-67.
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  47.  26
    Introduction : Sibley's vision.Emily Brady - unknown
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  48.  64
    Introduction to 'environmental and land art': A special issue of ethics, place and environment.Emily Brady - 2007 - Ethics, Place and Environment 10 (3):257 – 261.
    Artists, art critics, and art theorists have discussed environmental art, land art, earth art, and ecological art at least since the 1960s. In the last decade, driven by growing environmental conce...
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  49.  29
    Ronald W. Hepburn: In Memoriam: Articles.Emily Brady - 2009 - British Journal of Aesthetics 49 (3):199-202.
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  50.  43
    Sublime Attachment : Imagination, Feeling and Respect for Nature.Emily Brady - 1999
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