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  1. Philosophy of Animal-Made Art | فرزانشِ هنرِ جانور-ساخت.Pouya Lotfi Yazdi - manuscript
    This work has been presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – Aug 2020. In this article, first of all, I (hereafter: the writer) have presented an interpretation of aesthetic universality (hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist and subjective perspective (some others would incline objective interpretation of φ, but, it is beyond the purpose of this work). (...)
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  2. Art and Objects: A Manifesto.Said Mikki - manuscript
    We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within a naturalistic worldview, that of abstract materialism and the general, still ongoing, quest to build a comprehensive philosophy of nature encompassing not only the physical world, but also culture, art, and politics.
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  3. The Beauty of What is Unfolding: Philosophy, Biology, and Laudato Si'.Louis Caruana - 2021 - Gregorianum 102 (3):617-631.
    One of the aims of the encyclical "Laudato Si’" is to help us “marvel at the manifold connections existing among creatures”, to show how we are also involved, and to motivate us thereby to care for our common home. Are there new dimensions of beauty available to us today because of recent advances in biology? In this paper I seek to answer this question by first recalling the basic criteria for beauty, as expressed by Aristotle and Aquinas, and then evaluating (...)
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  4. The Aesthetic Value of the World.Tom Cochrane - 2021 - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...)
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  5. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...)
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  6. An Intergenerational Approach to Urban Futures: Introducing the Concept of Aesthetic Sustainability.Sanna Lehtinen - 2020 - In Arto Haapala, Beata Frydrykczak & Mateusz Salwa (eds.), Moving From Landscapes To Cityscapes And Back: Theoretical And Applied Approaches To Human Environments. Łódź, Poland: pp. 111–119.
    The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying degree. Contemporary (...)
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  7. Chinese Landscape Aesthetics: The Exchange and Nurturing of Emotions.Claudia Westermann - 2020 - In Jutta Kehrer (ed.), New Horizons: Eight Perspectives on Chinese Landscape Architecture Today. Basel, Switzerland: pp. 34-37.
    "[..] flowing with the waters, halting with the mountains. In the images of light and wind the ephemeral is inscribed. Time is part of space. The scene performs." -/- The essay "Chinese Landscape Aesthetics: the exchange and nurturing of emotions" by Claudia Westermann included in "New Horizons: Eight Perspectives on Chinese Landscape Architecture Today" introduces ideas of landscape in traditional Chinese thought. Following the etymology of the Chinese terms for landscape and recognizing that their conceptual focus is on the exchange (...)
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  8. Kantian Beauty, Fractals, and Universal Community.C. E. Emmer - 2019 - Dialogue and Universalism 29 (2):65-80.
    Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense of community (...)
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  9. Towards Gratitude to Nature: Global Environmental Ethics for China and the World.Bo R. Meinertsen - 2017 - Frontiers of Philosophy in China 12 (2):207-223.
    This paper asks what should be the basis of a global environmental ethics. As Gao Shan has argued, the environmental ethics of Western philosophers such as Holmes Rolston and Paul Taylor is based on extending the notion of intrinsic value to that of objects of nature, and as such it is not very compatible with Chinese ethics. This is related to Gao’s rejection of most—if not all—Western “rationalist” environmental ethics, a stance that I grant her for pragmatic reasons (though I (...)
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  10. Aesthetic Appreciation of Landscapes.Jiri Benovsky - 2016 - Journal of Value Inquiry 50 (2):325-340.
    In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...)
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  11. The Pig’s Squeak: Towards a Renewed Aesthetic Argument for Veganism.A. Holdier - 2016 - Journal of Agricultural and Environmental Ethics 29 (4):631-642.
    In 1906, Henry Stephens Salt published a short collection of essays that presented several rhetorically powerful, if formally deficient arguments for the vegetarian position. By interpreting Salt as a moral sentimentalist with ties to Aristotelian virtue ethics, I propose that his aesthetic argument deserves contemporary consideration. First, I connect ethics and aesthetics with the Greek concepts of kalon and kalokagathia that depend equally on beauty and morality before presenting Salt’s assertion: slaughterhouses are disgusting, therefore they should not be promoted. I (...)
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  12. Kantian and Nietzschean Aesthetics of Human Nature: A Comparison Between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  13. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  14. The Live Creature and The Crooked Tree: Thinking Nature in Dewey and Zhuangzi.Christopher C. Kirby - 2016 - Philosophica 47:61-76.
    This paper will compare the concept of nature as it appears in the philosophies of the American pragmatist John Dewey and the Chinese text known as the Zhuangzi, with an aim towards mapping out a heuristic program which might be used to correct various interpretive difficulties in reading each figure. I shall argue that Dewey and Zhuangzi both held more complex and comprehensive philosophies of nature than for which either is typically credited. Such a view of nature turns on the (...)
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  15. Is the City a Cultural Landscape? An Attempt to Analyze the City From the Perspective of Landscape Aesthetics.Beata Frydryczak - 2015 - Argument: Biannual Philosophical Journal 5 (2):359-372.
    This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a person in (...)
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  16. Places in Placelessness — Notes on the Aesthetic and the Strategies of Place–Making.Maria Korusiewicz - 2015 - Argument: Biannual Philosophical Journal 5 (2):399-414.
    The paper discusses the aesthetic aspects of place‑making practices in the urban environment of Western metropoles that are struggling with the progressive undifferentiation of their space and the weakening of communal and personal bonds. The paper starts by describing the general characteristics of an urban environment as distinct from the traditional vision of a city as a well‑structured entity, and in relation to formal and informal aesthetics and participatory design ideas. The author then focuses on two contrary but complementary tactics (...)
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  17. Why Should We Save Nature's Hidden Gems?Glenn Parsons - 2015 - Journal of Applied Philosophy 32 (1):98-110.
    Aesthetic preservation is the idea of sparing natural areas from development because of their aesthetic value. In this article I discuss a problem for aesthetic preservation that I call the ‘hidden gems problem’: in certain cases, the natural area under consideration is so remote and/or fragile that few people can actually experience it. In these cases, it becomes unclear how nature's aesthetic value can justify its preservation when development promises practical human benefits. After rejecting some potential responses to the hidden (...)
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  18. Leibniz's Monadological Positive Aesthetics.Pauline Phemister & Lloyd Strickland - 2015 - British Journal for the History of Philosophy 23 (6):1214-1234.
    One of the most intriguing – and arguably counter-intuitive – doctrines defended by environmental philosophers is that of positive aesthetics, the thesis that all of nature is beautiful. The doctrine has attained philosophical respectability only comparatively recently, thanks in no small part to the work of Allen Carlson, one of its foremost defenders. In this paper, we argue that the doctrine can be found much earlier in the work of Gottfried Wilhelm Leibniz who devised and defended a version of positive (...)
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  19. Costelloe, Timothy M., Ed. The Sublime: From Antiquity to the Present. Cambridge University Press, 2012, Xiii + 304 Pp., 36 B&W Illus., $35.95 Paper. [REVIEW]Tom Cochrane - 2013 - Journal of Aesthetics and Art Criticism 71 (4):390-392.
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  20. Delighting in Natural Beauty: Joint Attention and the Phenomenology of Nature Aesthetics.Johan De Smet & Helen De Cruz - 2013 - European Journal for Philosophy of Religion 5 (4):167-186.
    Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...)
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  21. Place, Narrative, and Virtue.Paul Haught - 2013 - Poligrafi 18 (69/70):73-97.
    This essay reexamines Holmes Rolston’s evocative notion of “storied residence” and evaluates it for its fitness for environmental virtue ethics. Environmental virtue ethics (or EVE) continues to garner attention among environmental philosophers, and recently Brian Treanor has argued for the indispensability of narrative approaches as part of that discourse. In this paper, I endorse this indispensability thesis generally, but I argue that narrative environmental virtue ethics must be supplemented either by “storied residence” or a similar environmentally, scientifically, culturally, and historically (...)
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  22. More Than Relations Between Self, Others and Nature: Outdoor Education and Aesthetic Experience.John Quay - 2013 - Journal of Adventure Education and Outdoor Learning 13 (2):142-157.
    Self, others and nature (environment) have been suggested over numerous decades and in various places as a way of understanding experience in outdoor education. These three elements and the relations between them appear to cover it all. But is this really the final word on understanding experience? In this paper I explore two emphases within experience expressed by Peirce that offer differing ways of understanding experience: in one emphasis self, others and nature are submerged and not discerned; in the other (...)
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  23. The Art in Knowing a Landscape.Arnold Berleant - 2012 - Diogenes 59 (1-2):52-62.
    What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like (...)
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  24. Science, Nature, and Moore's Syncretic Aesthetic.Glenn Parsons - 2009 - Ethics, Place and Environment 12 (3):351-356.
    In Natural Beauty, Ronald Moore presents a novel account of our aesthetic encounters with the natural world. In this essay, I consider the relation between Moore's 'syncretic aesthetic' and rival views of the aesthetics of nature, particularly the view sometimes called 'scientific cognitivism'. After discussing Moore's characterization of rival views in general, and scientific cognitivism in particular, I rehearse his reasons for rejecting the latter view. I critique these arguments, but also suggest that scientific cognitivism and the syncretic aesthetic need (...)
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  25. The Aesthetics of Natural Environments. [REVIEW]J. Robert Loftis - 2005 - Environmental Ethics 27 (4):429-432.
    This is a very positive review of Carlson, Allen, and Arnold Berleant, ed. 2004. The Aesthetics of Natural Environments. Broadview Press. -/- .
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  26. The Impact Of Aesthetic Imagination On Our Ethical Approach Towards Nature.Christian Denker - 2004 - Postgraduate Journal of Aesthetics 1 (2):51-58.
    Why is aesthetic experience of nature important in our everyday lives? This will be my main question. After defining the meaning of 'imagination' and 'aesthetic nature' in the context of Seel's thought, I will reflect on two aspects of this question. Firstly, I will focus on the function of imagination within our aesthetic experience of nature. Secondly, I will expose some ethical implications of the aesthetic approach to nature. My conclusion will emphasize the importance of aesthetic imagination for our personal (...)
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  27. Three Problems for the Aesthetic Foundations of Environmental Ethics.J. Robert Loftis - 2003 - Philosophy in the Contemporary World 10 (2):41-50.
    This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a reformist attitude towards natural aesthetics. I (...)
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  28. Nature Appreciation, Science, and Positive Aesthetics.Glenn Parsons - 2002 - British Journal of Aesthetics 42 (3):279-295.
    Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always beautiful (...)
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