Allen Carlson and Sheila Lintott (eds): Nature, Aesthetics, and Environmentalism: From Beauty to Duty Content Type Journal Article DOI 10.1007/s10806-010-9258-2 Authors Nathaniel Barrett, Institute for the Biocultural Study of Religion 1711 Massachusetts Ave NW #308 Washington DC 20036 USA Journal Journal of Agricultural and Environmental Ethics Online ISSN 1573-322X Print ISSN 1187-7863.

The distinction between anthropocentric and non-anthropocentric theories, together with the more fine-grained distinction between anthropocentrism, biocentrism and ecocentrism, are probably two of the most frequently occurring distinctions in the environmental ethics literature. In this essay I draw attention to some problematic aspects of the terminology used to draw these distinctions: the ‘centrism-terminology’. I argue that this terminology is ambiguous and misleading, and therefore confusing. Furthermore, depending on which interpretation it is given, it is also either asymmetric and non-inclusive, or superfluous. (...) Although I find it unlikely that the centrism-terminology will be abandoned, I end the essay by providing a suggestion for an alternative way to categorise theories in environmental ethics. (shrink)

Discussions of green design and sustainable architecture have become common in the architectural profession, but not in philosophy. This is unfortunate, as philosophers could make important contributions to this discussion, given that these terms rife with ambiguities and that the relationships between these ideas and the traditional Vitruvian values of architecture (beauty, structure, and utility) are unclear. In a recent article, Tom Spector addresses some of these issues to assess whether the notion of sustainability could underpin an entire design philosophy. (...) He concludes that it cannot. I argue that Spector’s argumentsare flawed. After discussing the history of green design, I connect a number of theories in the new field of environmental aesthetics to the question of architectural aesthetics to show how sustainability might inform architecture. (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)

Since its emergence in the 1950s, analytic aesthetics has become the mainstream approach to aesthetics in the English-speaking world, and it has subsequently spread throughout most of the world, including mainland China. Although it was introduced into the Chinese academic world at an early time, around the late 1950s, and has been disseminated and researched in China over the past three decades, analytic aesthetics remains underdeveloped in China. Chinese academics tend to have little familiarity with, and exposure to, analytic approaches (...) to aesthetics. Unsurprisingly, given this situation, Chinese contributions to analytic aesthetics have had a marginal impact on the international academic discussion. This paper aims at providing a picture of the development of analytic aesthetics in China. In section 1, I clarify the scope of the paper. Section 2 briefly introduces aesthetics in China so as to outline the context for our discussion about analytic aesthetics. In section 3, I first offer a brief historical narrative of the dissemination and reception of analytic aesthetics in China, and then explore how analytic aesthetics has been researched and taught in China. -/- . (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)

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)