This is an essay in appreciation of The Abundant Herds, a study of the ama-Zulu's naming practices for their Nguni cattle. The book reveals an aesthetic vision in which contemplative and practical attention are intertwined and a complex classificatory system does not undermine an appreciation of the individuality of the cattle. The book and the practices it celebrates permit a richer account of the beauty of farm animals to the standard functionalist approach.

The creation of a sense of place has emerged as a goal of many community development initiatives. However, little thought has been given to the role of physical spaces in the shaping of possible senses of place. This article examines three Canadian examples of community sustainable development initiatives to demonstrate that sense of place can be shaped and constrained by the geographical and environmental features of the physical space a community occupies. This finding suggests that a 'one-size-fits-all' approach to community (...) sustainable development is unlikely to be successful; a community's sustainable development ethic will be informed by geography. However, there is some evidence that a strong individual sense of place shaped by local space may act as a barrier to the acceptance of new people and ideas. Conversely, a strong sense of place can result in mobilization for sustainable development initiatives. (shrink)

Environmental aesthetics, largely because of its focus on 'natural' rather than artifactual environments, has ignored postindustrial sites. This article argues that this shortcoming stems from the nature-culture divide and that such sites ought to be considered by environmental aestheticians. Three forms of artistic engagement with postindustrial sites are explicated by looking at the work of Serra, Smithson, and others. It is argued that postindustrial art leads to a successively richer ability to see and thus think about such sites. Finally, a (...) new category is proposed, the interesting, in order to capture the aesthetic experience of postindustrial landscape art that eludes current terminology. (shrink)