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)

Recent work in environmental ethics has seen a pragmatic turn that emphasises the importance of developing positive relationships with nature through practices involved in, for example, ecological restoration and community gardens. This article explores whether environmental and land art-making encourages positive aesthetic-moral relationships between nature and humans. It critically examines a particular type of aesthetic objection to these kinds of artworks and defends the work of Robert Smithson and Andy Goldsworthy, among others, against this charge. It is argued that rather (...) than constituting an 'aesthetic affront' to nature, some forms of environmental and land art show 'aesthetic regard' for nature. (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)

The paper discusses some relationships between aesthetic and non-aesthetic reasons for valuing rural landscape, i.e., landscape shaped by predominantly non-aesthetic purposes. The first part is about the relationship between aesthetic reasons and considerations of utility and argues for an intimate connection between them. The next part considers the relationship between aesthetic and other non-instrumental reasons for valuing landscape and argues that there are important contingent but no essential connections between them. The third part considers the strength or weakness of aesthetic (...) reasons for resisting landscape changes that would result from changes in land use. (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)

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.

Emily Brady asks us to reconsider what kinds of environmental artworks constitute ‘aesthetic affronts to nature’, and concludes that many of these works may in fact show aesthetic regard for nature...