In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its official inscription on the UNESCO (...) register. A place is included as part of our heritage primarily because it matters to us. People live in, form relationships with, and derive existential and affective meanings from it. Above and beyond its official significance, a heritage site is thus a living dimension that plays a vital role in the everyday life and social practices of people, who transform it into a place of human significance. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

The article discusses installation art and its potential contribution to a transdisciplinary research practice, in which not only artistic, but also aesthetic theoretical approaches could play a central role. However, as the article shows, this firstly requires a change in perspective concerning the way we approach art. Secondly, it entails changes to a common understanding of aesthetic theory and, thereby, philosophy. A term of central significance in this context is the notion of aisthesis. The article will illustrate these thoughts through (...) the examples of Bruce Nauman, Ilya Kabakov, and Arnold Berleant. (shrink)

Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...) infused into our natural and artificial environment. Section three lists several ways of how we experience atmosphere, preparing the ground for the specifically aesthetic claim in section four: how, when we experience atmosphere aesthetically, we respond to it by resonating or feeling at home. (shrink)

In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the ‘image’; namely, an empirical approach and a phenomenological one. I am interested in what the city becomes when it is looked upon as an image and I (...) will reflect on the experiences of the city‑image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners’ theories enabling us to widen the scope of this exploration. (shrink)

Aesthetic debates within contemporary art have been tangential to the debates in environmental aesthetics since the 1960s. I argue that these disciplines, having evolved separately in response to the limitations of traditional aesthetics, may now usefully inform each other. Firstly, the dematerialisation of art as the focus of aesthetic experience may have environmentally useful consequences. Secondly, Gablik's 'connective aesthetics ', like Berleant's ' aesthetics of engagement', folds aesthetic experience into the social as a kind of environmental aesthetics. Thirdly, contemporary art's (...) flexible readings of ' framing ' can respond to 'frameless' natural environments, and finally, Kester's 'dialogical aesthetics ' may be enriched by Berleant's systematic account of ' contextual aesthetics '. (shrink)

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 (...) to do this through a re-weaving of words and ideas to propose a new fabric for understanding the relation of art, landscape, and perceiver. The threads I want to combine are four: art, environment, landscape, and knowing in the sense of appreciation. I hope to show how the loose-knit texture they form can be spread over a particular landscape in such a way that the landscape will fill the fabric and the fabric integrate the landscape. I realize that I may have over-worked my metaphor, so I shall leave it now, but I hope that it can serve as a guiding image for the relation and application of the ideas I shall be working with. (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.

We argue that environmental aesthetics, and specifically the concept of aesthetic integrity, should play a central role in a public environmental philosophy designed to communicate about environmental problems in an effective manner. After developing the concept of the “aesthetic integrity” of the environment, we appeal to empirical research to show that it contributes significantly to people’s sense of place, which is, in turn, central to their well-being and motivational state. As a result, appealing to aesthetic integrity in policy contexts is (...) both strategically and morally advisable. To provide a concrete illustration of the ways in which such appeals can play a role in policy making, we examine a specific case study in which attention to aesthetic integrity contributed to blocking a proposed development. The case yields at least four lessons: (1) aesthetic integrity can be a practically effective framing device; (2) local deliberative settings are particularly conducive for addressing it; (3) it can serve as an umbrella under which multiple other issues can be brought to the fore; and (4) judgments about aesthetic integrity need not be entirely objective in order for them to play a productive role in the policy sphere. (shrink)

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative (...) change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

I identify a commonly held position in environmental philosophy, “the received view,” and argue that its proponents beg the question when challenged to demonstrate the relevance of environmental aesthetics for environmental justice. I call this “the inference problem,” and I go on to argue that an alternative to the received view, Arnold Berleant’s participatory engagement model, is better equipped to meet the challenge it poses. By adopting an alternative metaphysics, the engagement model supplies a solution to the inference problem and (...) thereby provides a more useful theoretical framework for application to pressing concernsin environmental justice, such as the plight of the historical Ironbound District of Newark, New Jersey. (shrink)

The theme of this article is a rise in notions of a planetary community, and the tensions this evokes in global-local and universal-contextual debates. The primary focus is the realization that new visions are needed to respond to ecological dilemmas in a culturally diverse yet global world and interconnected Earth. Of the many ways to discuss this, I first consider the growing interest in and expansion of biodemocracy as a way to combine these dimensions. Insights and issues from postmodern perspectives (...) follow this, surveying the suspicion of what lurks behind “global.” The next segment turns to ecological postmodernists who realize that a unifying path must be found for a viable planetary future. A brief and final section considers the Earth Charter to be an initiative responsive to postmodern pressures, and yet seeking a global vision and common ground for an emerging world community. (shrink)

Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...) as well as by aestheticians. Scenic beauty provides a vivid test for the variability of these judgments. (shrink)

Aesthetics and Environment: Variations on a Theme is collection of essays that lends emphasis to, and in some cases sheds new light on, Arnold Berleant's distinctive approach to aesthetic theory. T...

The idea that nature is importantly frame-less is an entrenched dogma in much of environmental aesthetics. Although there are powerful arguments that support this position, there are also powerful arguments supporting the view that observers often - or even inevitably - frame, bound, or otherwise confine natural objects in the course of aesthetic regard. Facing these opposing arguments off against each other produces the 'framing paradox': On the one hand, frames seem to be an indispensable condition for the aesthetic experience (...) of anything whatsoever, and on the other hand the aesthetic appreciation of natural environments seems to require the dissolving or penetrating of boundaries of all sorts. To resolve this paradox, we must abandon an overly narrow conception of 'frame' that has generally been assumed throughout the debate and pay closer attention to what various framing devices (in both natural and artifactual settings) do to focus, rather than confine, aesthetic attention. Doing this enables us to make better sense of the way intelligence and imagination cooperate in carrying attention beyond perceptual phenomena. From the perspective that results, rival claims about the framability of nature can be seen as variable markers on an endless scale of aesthetic selectivity. (shrink)

To be intrinsically valuable means to be valuable for its own sake. Moral philosophy is often ethically anthropocentric, meaning that it locates intrinsic value within humans. This paper rejects ethical anthropocentrism and asks, in what ways might nonhumans be intrinsically valuable? The paper answers this question with a wide-ranging survey of theories of nonhuman intrinsic value. The survey includes both moral subjects and moral objects, and both natural and artificial nonhumans. Literatures from environmental ethics, philosophy of technology, philosophy of art, (...) moral psychology, and related fields are reviewed, and gaps in these literatures are identified. Although the gaps are significant and much work remains to be done, the survey nonetheless demonstrates that those who reject ethical anthropocentrism have considerable resources available to develop their moral views. Given the many very high-stakes issues involving both natural and artificial nonhumans, and the sensitivity of these issues to how nonhumans are intrinsically valued, this is a vital project to pursue. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

In this paper I would like to deal with the question how environmentally engaged art can infirm Carlson's dualism between art and nature in his cognitive environmental aesthetics. I understand environmentally engaged art as a part of new tendencies in the second half of the 20th Century, when we can observe shift towards more conceptual and engaged art forms that leave the insides of galleries. This type of art projects are in opposition to Carlson's art-nature dichotomy. Equally, I would like (...) to show that science is in Carlson's theory limiting and can blocade aesthetic experience in many cases. Eventhough it may appear that science can diminish aesthetic experience, environmentally engaged artists, who often use scientific knowledge in their projects, show, that science can be also beneficial in creating aesthetic's intention. (shrink)

The goal of this article is to deepen the concept of emerging urban mobility technology. Drawing on philosophical everyday and urban aesthetics, as well as the postphenomenological strand in the philosophy of technology, we explicate the relation between everyday aesthetic experience and urban mobility commoning. Thus, we shed light on the central role of aesthetics for providing depth to the important experiential and value-driven meaning of contemporary urban mobility. We use the example of self-driving vehicle (SDV), as potentially mundane, public, (...) dynamic, and social urban robots, for expanding the range of perspectives relevant for our relations to urban mobility technology. We present the range of existing SDV conceptualizations and contrast them with experiential and aesthetic understanding of urban mobility. In conclusion, we reflect on the potential undesired consequences from the depolitization of technological development, and potential new pathways for speculative thinking concerning urban mobility futures in responsible innovation processes. (shrink)

At the present time, there is considerable interest for the physical setting of science, that is, its actual ‘place’ of practice. Among historians of biology, place has been considered to be a crucial component for the study of ecology. Other historians have noted the ‘built’ environments for the study of biology along the seashore, even referring to these places in terms more applicable to vacation sites. In this paper, I examine the place of intertidal ecology investigations, both in terms of (...) the physical space and the built space. Part of the examination will investigate the aesthetic aspect of the Pacific Coast, part will evaluate the unique character of the intertidal zone, and part will consider the construction of natural laboratories and built laboratories as characteristic places for biology. (shrink)

There is a growing sense among translational hermeneuticists that their assumptions pertaining to the act of translation as seen from the hermeneutical perspective should align them more with a cognitive field. Taking the above view into account, the aim of this paper is to introduce the idea of translational (neuro)hermeneutics into the field of translation studies. The first part of the paper is dedicated to the concept of (neuro)hermeneutics as based on Gambino and Pulvirenti (2019) approach to literary studies, which (...) is then followed by the theoretical and methodological issues associated with philosophy of landscape taken from the perspective of new cultural geography and of embodiment. The second part of this paper presents the theoretical and methodological considerations as regards translations of landscape descriptions and their analysis, with emphasis on the concept of the (neuro)hermeneutic circle. The paper concludes with suggestions as to further advancement within the field of translational (neuro)hermeneutics. (shrink)

ABSTRACTTheories of aesthetics have traditionally represented the aesthetic object as a framed, distanced and contemplated individual piece to be appreciated. As such the aesthetic object has mainly been a work of art. This view has been challenged especially by environmental and everyday aesthetics, approaches which bring everyday environments and matters into consideration as possible objects of aesthetic appreciation. In this article I explore recent theories of everyday aesthetics focusing on how they treat the questions concerning ordinarity and attachment with regard (...) to aesthetic experience. In addition, I participate in the ongoing discussion of the nature of everyday aesthetic experience but I do so from a new point of view by introducing a notion of dwelling as a key concept to understanding aesthetic dimensions of our everyday life. The concept of dwelling indicates two different semantic elements of the aesthetic in our everyday existence: that of sensing and perceiving on one hand, and creating on the other. As such it offers a versatile point of departure in viewing our everyday aesthetic life. (shrink)

In order to develop environmental aesthetics, Berleant takes environment as an aesthetic paradigm. His understanding of the nature of environment decides the nature of his aesthetics of engagement, which emphasizes experiential continuity and rejects the separation between subject and object. Based on these ideas, he criticizes Kant’s core idea of disinterestedness in his series of books. Berleant’s environmental aesthetics has a significant impact on ecoaesthetics in China. However, Berleant’s criticism of Kant’s core idea of disinterestedness is a misunderstanding and his (...) conception of environment is not fundamentally sound. The future of ecoaesthetics is taking ecosystem not environment as a new aesthetic paradigm. (shrink)

The picturesque is usually interpreted as an admiration of 'picture-like,' and thus inauthentic, nature. In contrast, this paper sets out an interpretation that is more in accord with the contemporary love of wildness. This paper will briefly cover some garden history in order to contextualize the discussion and proceed by reassessing the picturesque through the eighteenth century works of Price and Watelet. It will then identify six themes in their work (variety, intricacy, engagement, time, chance, and transition) and show that, (...) far from forcing a 'picture-like' stereotype on nature, the picturesque guided the way for a new appreciation of wildness—one that resonates with contemporary environmental philosophy. (shrink)

This article discusses multisensorial aesthetic experience of environmental materiality via a craft process. The locally situated study investigates the interrelations of humans and environment through soil. In focus is how craft practitioners use their material sensitivity to reflect the idea of interdependency in the context of the contemporary environmental discourse. This is done through presenting an artistic research project in which craft is used to explore the human imprint in a particular geological environment, the Venice Lagoon. The case study Traces (...) from the Anthropocene: Working with Soil combines environmental research methods of contaminated soil and artistic research in the field of ceramic art. Craft making provides an embodied way to engage with the local environment. The cultural value and environmental disruption of the lagoon area forms a context for reflecting the aesthetic experience to better understand how we are active participants, in continuous flux with our material environment. (shrink)

This paper is about the practice of evaluating ecosystems on the basis of the cultural services they provide. My first aim is to assess the various objections that have been made to this practice. My second is to argue that when particular places are integral to people’s lives, their value cannot be adequately conceived in terms of the provision of cultural ecosystem services. It follows, I conclude, that the ecosystem services framework can provide only a very limited account of the (...) value of places. (shrink)