This paper examines the relationship between the environmental aesthetics approach backed by knowledge (ecological aesthetics) and the possibility of doing an action in favor of environmental conservation. It seems that even having such an approach towards the environment fails to sufficiently motivate people to protect the environment and nature, since there is a tension between the course of daily life and scientifically supported environmental aesthetics. In order to explain such tension, we tend to examine and critique ecological aesthetics (which is (...) in some respects overlapped with environmental ethics) from the viewpoint of the philosophy of Wittgenstein, particularly with reference to his later work including the concept of formal life. Based on this concept, ecological aesthetics can be criticized and examined on three grounds: First, aesthetics is not able to create understanding or appreciation that leads to action. Second, the ecological concept added to reinforce the aesthetics, cannot support aesthetics in this regard and can even make things worse; ecological aesthetics, in fact, diverts aesthetics from its purpose (the purpose with regards to the environment, which is to motivate people to preserve nature) by trying to give it a strong objectivity. Third, the role of ethics in its current form in environmental conservation cannot be an active role. (shrink)

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the competing (...) 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

Instances of natural beauty are widely regarded as counterexamples to practice-based theories of aesthetic value. They are not. To see that they are not, we require the correct account of natural beauty and the correct account of social practices.

Our aesthetic practices, by which we aim for better well-being, are intertwined with fostering sustainability. This article focuses on Yuriko Saito’s aesthetics of sustainability, an idea denoting a new kind of aesthetic sensibility informed by and featuring both environmental and cultural sustainability. Saito’s idea is based on our aesthetic relationship with everyday experiences. In this article, I defend the idea, on the one hand, by considering the immanence of change as a sense of contemporary everydayness and, on the other hand, (...) by regarding mindfulness as a practice. Situating the discussion in the European context emphasises the aesthetics of sustainability as a sustainability transformation, that is, an ongoing societal change powered by the continuous cultivation of aesthetic sensibility. (shrink)

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To (...) this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics. (shrink)

Advocates of ordinary aesthetics argue that aesthetic experiences found in everyday life can have an impact on our ethical being. This raises the question of how, specifically, action arises from aesthetic experience. Although this matter affects both Aesthetics and Ethics, the current literature provides few details on potential mechanisms. Using neurophysiological evidence, this article proposes specific action profiles and associated mechanisms for aesthetic experiences. To achieve this, it is argued that aesthetic experience originates within the mind and that ordinary aesthetic (...) experiences are logically permissible. Subsequently, a proposed landscape of aesthetic experience is derived. Mechanisms for pathways from experience to action are provided for each category of aesthetic experience. In sum, this provides a tangible bridge between Aesthetics and Ethics, enabling a better understanding of how one’s ethical being is influenced by certain experiences. (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 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)

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, (...) and dis/values in light of the catastrophic effects of GCC; (3) bringing intergenerational thinking into aesthetics through concepts of temporality and 'future aesthetics' (4) understanding the relationship between aesthetic and ethical values as they arise in regard to GCC. (shrink)

Amidst a worsening climate crisis, there is growing public discourse theorising the possible colonisation of outer space to secure a sustainable future for humanity. In the face of these escapist fantasies, political discussion on humanity's relation to the universe is notably limited and primarily frames space exploration as a dangerous Promethean endeavour. While I do not contest this claim, I argue that humanity's technological capabilities and acquired knowledge of the universe can alternatively facilitate an Earth-centred engagement with the Cosmos as (...) a sublime aesthetic experience. I frame the sublime Cosmos and its infinite expanse of dynamic material forces, as a site of resistance against Promethean visions of human mastery and colonisation. I then theorise how the sublime Cosmos can be productively engaged as a source of political imagination and spiritual elevation. Recovering a spiritual attachment to Earth is necessary, for we are irrevocably tied to this rapidly destabilising planet. (shrink)