The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and (...) in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (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)

This lively collection of essays explores the vital role of beauty in the human experience of place, interactions with other species, and contemplation of our own embodied lives. Devoting attention to themes such as global climate change, animal subjectivity, environmental justice and activism, and human moral responsibility for the environment, these contributions demonstrate that beauty is not only a meaningful dimension of our experience, but also a powerful strategy for inspiring cultural transformation. Taken as a whole, they underscore the (...) ongoing relevance of aesthetics to the ecocritical project and the concern for beauty that motivates effective social and political engagement. (shrink)

I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art (...) -- Subsidization of art as social policy -- Morality and the artist : toward an ethics of art -- Getting along beautifully : ideas for a social aesthetics. (shrink)

In The Responsive Environment, Larry D. Busbea takes up this concept of environment as an object and method of design at the height of its aesthetic, technical, and discursive elaboration. Exploring novel models of environmental perception, patterning, and control as developed by Gregory Bateson, Edward T. Hall, Wolf Hilbertz, György Kepes, Marshall McLuhan, Nicholas Negroponte, Paolo Soleri, and others, he shows how living space was reimagined as a domain capable of modification through input from its newly sensitized inhabitants.

Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but is fully integrated and continuous with us, The Aesthetics of Environment explores the aesthetic dimensions of the human-environmental continuum in both theoretical terms and concrete situations. From outer space to the museum, from architecture to landscape, from city to countryside to wilderness, this (...) book discovers in the aesthetic perception of environment the reciprocity that constitutes both person and place. (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.

Across these essays Arnold Berleant demonstrates how aesthetic values and theory can be used to reappraise our social practices. He tackles issues within the built environment, everyday life and politics, breaking down the dichotomy between the natural and the human. His work represents a fresh approach to traditional philosophical questions in not only ethics, but in metaphysics, truth, meaning, psychology, phenomenology and social and moral philosophy. Topics covered include the cultural aesthetics of environment, ecological aesthetics, the (...) aesthetics of terrorism and the subversion of beauty. The corruption of taste by the forces of commercial interests as well as how aesthetics can advance our understanding of violence is also considered. Berleant's exploration is supported by his analysis of 19th-century art to the present day, starting with impressionism through to postmodernism and contemporary artistic interventions. By critically examining the field in this way and casting new light on social understanding and practice, this collection makes a substantive contribution in identifying and clarifying central human issues, guided by an understanding of aesthetic experience and appreciation as a powerful tool for social critique. (shrink)

Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...

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 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)

Research indicates that nature offers many physical and mental health benefits, including restoration - or recovery from mental fatigue. However, questions remain about what exactly in one's environment is experienced as restorative and why. Bridging environmental aesthetics, environmental psychology and cultural studies, this study establishes a connection between landscape and mindscape as seen, for instance, in the ways in which an orderly environment is interpreted as an orderly state of mind and vice versa. Using data drawn from (...) a qualitative survey targeting expatriate Finns, the article mobilises content analysis to interpret the results and concludes that a 'favourite place' is aesthetically appealing, enables actions that are experienced as restorative and is as much an interpretation of a space as a physical place. (shrink)

This chapter contains sections titled: The Aesthetic Appreciating Nature Skepticism Regarding Aesthetic Nature Aesthetics and the Concept of Nature.

What happens when an object you take to be beautiful or aesthetically pleasing, no longer appears beautiful or pleasing when you learn something new about it? I am assuming a situation in which there is no direct change in the perceptual features of the object, and that what you learn is not the location of some new surface property but rather a bit of non-perceptual information. I classify episodes of dampened appreciation under the heading 'aesthetic disillusionment', and in this paper (...) I explore the relationship between such episodes and the broader issue of ethical constraints on aesthetic activity and appreciation. Does it make sense to say that one should not, or ought not, take pleasure in certain objects or events? I think it does – but in a very particular, almost ecological way. The subsequent discussion focuses on ethical constraints as they operate on the aesthetic appreciation of objects and events within the natural environment. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as natural and built (...) environments. Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

In this article I start by assuming that positive aesthetic experiences of damaged nature are possible and I argue for the idea that the aesthetic pleasure derived from that contemplation might reveal something of the environment’s overall character. I hope to show that positive aesthetic experiences sometimes help to promote emotional attitudes that can lead to insight into the configuration of other non-aesthetic attitudes. In order to do so, I critically appeal to some of the thoughts Kant articulated about (...) the notion of aesthetic experience and its relationship to cognition and morality. I think that the sort of experience I am after in this article cannot be easily accommodated within a Kantian framework and that the possibility of positive aesthetic experience of damaged nature will show that the relationships between the aesthetic and the cognitive or the moral are more complex and enriching than they have so far been acknowledged to be. (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)

This paper describes the disorienting aesthetics of some environments that are characteristic of the Anthropocene. We refer to these environments as 'mashed-up' and present three dimensions - phenomenological, epistemological and narrative - of the aesthetic disorientation they can trigger. We then advance the suggestion that a rich, nuanced and meaningful aesthetic experience of mashed-up Anthropocene environments (MAEs) calls for a mode of appreciation grounded on performative practices of aesthetic familiarisation with particular MAEs and entities and processes thereof. Familiarisation with (...) MAEs, we further note, can have disorienting codas of its own. It can reveal and highlight, rather than eliminate or alleviate, the solid strangeness of Earth even in the systemically humanised world of the Anthropocene, and it can expose and tie at least some of our agency, identity and sources of meaning in life to the same unstable evolvability of particular MAEs. (shrink)

ABSTRACT Kant regarded ecosphere as having the highest degree of beauty, as opposed to other aesthetical objects such as painting, sculpture, buildings, and we could infer, the built environment. His arguments hinges heavily on his transcendental philosophy, where he stressed that pure beauty could only be achieved through disinterested judgement, without concept, and others. Though his proposition for ecosphere is valid, it could not be used to justify other cases, such as determining the degree of beauty of the built (...) environment. Thus, a modified version of Kant's aesthetics needs to be adopted, as it opens space for the built environment. This research uses Kant's overarching aesthetical arguments to justify the degree of beauty of the built environment. It is found that the built environment could have similar, if not same to, the degree of beauty of ecosphere by way of bioregionalism and ecomimicry, where the totality of the built environment encompases the natural law of local environment, making its degree of beauty as high as ecosphere. Keywords: bioregionalism, ecomimicry, the built environment, ecosphere, degree of beauty ABSTRAK Kant memandang tinggi atas lingkungan alam dan menobatkannya sebagai derajat keindahan tertinggi bila dibandingkan dengan objek estetis lainnya seperti lukisan, patung, gedung, dan kita dapat inferensikan, lingkungan buatan manusia. Argumen dia terjangkar kepada pemikiran transendentalnya, di mana keindahan murni hanya dapat didapatkan melalui penilaian tanpa ketertarikan, tanpa konsep, dan lain-lain. Walaupun proposisinya terhadap lingkungan alam valid, kita tidak dapat menggunakannya untuk menjustifikasi derajat keindahan lingkungan buatan manusia. Dengan itu, sebuah modifikasi dari pemikiran Kant diperlukan untuk dapat menilai lingkungan buatan manusia. Penelitian ini menggunakan teori estetika Kant untuk menjustifikasi derajat keindahan lingkungan buatan alam. Dipertahankan bahwa lingkungan buatan manusia memiliki derajat keindahan yang sangat mendekati, bahkan sama, dengan lingkungan buatan alam jika, dan hanya jika, lingkungan buatan tersebut mengadopsi konsep bioregionalisme dan ecomimicry, di mana totalitas dari lingkungan buatan manusia mencakupi hukum alam yang terdapat di daerah lokal, meningkatkan derajat keindahan lingkungan buatan tersebut. Keywords: bioregionalisme, ecomimicry, lingkungan buatan manusia, lingkungan alam, derajat keindahan. (shrink)

Allen Carlson finds three central problems in my book, Aesthetics and Environment : that it lacks a criterion of the aesthetic itself, that my proposal, aesthetic engagement, is excessively subjective, and that we cannot therefore distinguish between ‘easy’ and ‘serious’ beauty. I respond by uncovering the metaphysical assumptions on which his critique rests and offer more plausible alternatives. I argue, further, that their implications are not only acceptable but fully satisfactory.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 77-88 MuseSearchJournalsThis JournalContents[Access article in PDF]The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of EnvironmentAllen CarlsonIntroductionIn what is in retrospect easily recognized as one of the three or four truly groundbreaking essays in environmental aesthetics, Francis Sparshott distinguishes a number of different ways of conceptualizing our relationships to our environments. Such different conceptualizations, he argues, deeply influence the ways in (...) which we aesthetically experience both environments and the things that occupy them. 1 It follows that understanding of, and thus education about, our environmental conceptualizations are of the utmost importance to our aesthetic appreciation. In this article I follow up some of Sparshott's insights by considering the ways in which a number of rather common conceptualizations of environments relate to what is an increasingly important feature of our built environments—what is commonly referred to as "environmental architecture." In doing so, I hope to make clear how aesthetic education concerning these common conceptualizations is vital for the appreciation of not only environmental architecture but the whole of our built environment.Initially, however, some clarifications are in order. First, due to the emphasis in environmental architecture on environments in general, there is, within this area of concern, somewhat of a shift away from the idea of architecture as a fine art. Traditionally, architecture, along with painting, sculpture, poetry, and music, was regarded as one of the five founding art forms of the so-called modern system of the arts. 2 And, although architecture, given its utilitarian dimensions, has often been the poor sister of the famous five, some individuals nonetheless regard it essentially as a fine art. 3 However, given my focus on environmental architecture, I here pay equal attention to what is known as "vernacular architecture." [End Page 77]Second, the phrase "environmental architecture" refers to architecture and architectural practices that are typically promoted as "working with the environment" or as being "environmentally friendly." Such characterizations bring to mind ideas such as ecological design, sustainable development, and green architecture. They are associated with design and building practices that rely on renewable energy and materials, stress recycling and efficient use of resources, and attempt to maintain the long-term integrity of both natural and human environments. Consequently, whether exemplified in the fine art of architecture or in the vernacular, such design and building practices point initially to the ecological and, more broadly, the ethical issues associated with architecture, which are best approached within environmental ethics or traditional ethical theory. 4 Although these ethical matters are of the greatest importance, I here primarily address, as noted, aesthetic issues involved in environmental architecture.Aesthetics and Environmental ArchitectureThe aesthetics of environmental architecture, as the ethics of environmental architecture, concerns most generally the relationships between structures and their environments, and especially the environmental effects of the former on the latter. Of course, unlike ethics, which in the case of architecture considers the environmental benefits or harms brought about by design and building practices and the resultant structures, aesthetics focuses first and foremost on appearances, on that which is perceived by the senses. As is well known, the discipline takes its name from the Greek aisthetikos, meaning "of sense perception." However, to recognize that aesthetics is concerned with appearances is not necessarily to relegate it to the realm of the superficial. Even though, since the aesthetics of environmental architecture considers the relationships between structures and their environments, it initially focuses on the appearances of such relationships, it need not be restricted to questions of whether such relationships are simply "pleasing to the eye" or "pretty." Rather, the basic question in the aesthetics of environmental architecture is whether structures reside in their environments such that they appear as they should. By this I mean that they and their environments are related in such a way that the structures appear appropriate or proper within their environments. 5An emphasis on whether structures appear appropriate within their environments immediately moves the matter beyond simple appearances. This is because... (shrink)

This book introduces the idea of sustainability and its aesthetic dimension, suggesting that the role of the aesthetic is an active one in developing an ecologically, economically and culturally healthy society. With an introduction by Christopher Crouch and an afterword by John Thackara, the book gathers together a range of essays that address the issue of the aesthetics of sustainability from a multitude of disciplinary and cultural perspectives.

This book theorizes aesthetic classroom management through a hermeneutical approach with three fields of literature: history and philosophical foundations of chivalry, chivalry’s promulgation through the Victorian Age, and parallel issues of identity in twenty-first century teacher education. The aim of the book is to examine the relationship between chivalric ethos and education. The presented case study addresses more specifically the following question: how can chivalry be re-imagined or theorized in an educational setting? Few studies address the concept of aesthetics (...) and hermeneutical context in American classroom management and classroom life, and Attwood pinpoints and traces the medieval social concept of chivalry through the centuries and argues it has manifested itself in classroom social construction in the twenty-first century. (shrink)

This is a very positive review of Carlson, Allen, and Arnold Berleant, ed. 2004. The Aesthetics of Natural Environments. Broadview Press. -/- .

In the immersion process the border between the canvas and the spectator or between screen and user dissolves, and the distance or physical separation between virtual and physical space is no longer given. The self can expand into the virtual, to test its own boundaries by abandoning the materiality of the limited corpus (Ostermann and Wenzel 2011). This phenomenon can also be understood as a dialogue, an important exchange, which can be itself an illuminating experience for the self and the (...) mind. If the subject is an individual in an auditorium and the object is changing between the physical space of a digital theatre surrounded by a 360° canvas and the virtual world on the canvas, how can the encounter or the immersion process be described and even more important: how can it be induced? (shrink)

As aesthetic appreciators of the environment, we often encounter cases where our environmental commitments and our aesthetic responses do not seem to match. Some highly altered or contaminated environments may occasion powerful and insightful aesthetic experiences. In this article, I discuss some arguments that have been offered in favor of the view that this mismatch is not possible when we appreciate a particular environment with full awareness of its damaged or altered condition. I show that these arguments are (...) not conclusive and that there is room for valuable experiences of damaged or highly altered environments. Our knowledge of the damaged condition of an environment, while perceptually significant, does not necessarily make the resulting aesthetic experience to be negative. Finally, I show that these cases do not necessarily diminish the role that aesthetics can play in shaping our environmental sensibility and commitments. (shrink)

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.

Sensemaking has recently been identified as a driver of society developments, in particular in the context of designing a reasonable, valuable, and fair life. Since the construction of meaning is a crucial momentum in sensemaking processes, the authors investigate how meaning can be constructed in a sustaining form by utilizing digital means of expression, articulation, sharing of information, and creation of artscience artefacts. The authors report on results of exploring cyber-physical-systems with performative methodologies in the context of sensemaking to identify (...) sensemaking processes of entering digital environments and share meaning-making activities through interaction. The collected data from two artscience studies reveal that activities beyond cognition facilitate sensemaking. Aesthetics and embodiment in performing actions are understood to play a role in sensemaking and subsequently effect on the construction of meaning. To investigate the role of the body and aesthetics in sensemaking in digital environments, we were particularly interested in sensemaking through embodied agency and aesthetic awareness, drawing from kinesthetic awareness of performance artists. In the performative activities digital behavior recognition and human task behavior were coupled, on the one hand by performers exploring digital environments actively reflecting on their performative process, on the other hand by a performance artist and choreographer creating performative experiences for audiences. It has been demonstrated in cyber-physical settings and can be utilized in upcoming developments further integrating virtual and physical worlds. (shrink)