The sustainability movement, currently gathering considerable attention from architects, derives much of its moral foundation from the theoretical initiatives of environmental ethics. How is the value of sustainability to mesh with architecture’s time-tested values? The idea that an ethic of sustainability might serve architects’ efforts to reground their practices in something that opposes consumer values of the marketplace has intuitive appeal and makes a certain amount of sense. However, it is far from obvious that the sustainability movement provides a strong (...) enough conceptual framework for an entire designphilosophy. This issue is complicated by two different sustainable design outlooks which parallel two conceptions of environmental ethics: the practical and the radical. Neverthleless, sustainability need not resort to the philosophical excess of its radical branch to help foster a new public-spiritedness. (shrink)

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always beautiful (...) (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Recently, several authors have defended a new version of formalism in the aesthetics of nature and attempted to refute earlier arguments against the doctrine. In this essay, we assess this new formalism by reconsidering the force of antiformalist arguments against both traditional formalism and new formalism. While we find that these arguments remain effective against traditional formalism, new formalism falls largely beyond their scope. We therefore provide a novel line of argument for the insignificance of the formal appreciation of nature. (...) This argument suggests that new formalism is inadequate as a theory of the aesthetics of nature. (shrink)

In this article I consider and reflect upon the aesthetic significance of Simon Hailwood's conception of nature as articulated in an earlier volume of this journal in his paper 'The Value of Nature's Otherness' (Environmental Values 9.3: 353-72). I provide a brief elucidation of Hailwood's conception of nature as other and I maintain that recognition of the value of nature's otherness and respect for nature's otherness requires as a necessary condition that one know and perceive that nature is other. I (...) then go on to consider Hailwood's concerns over the possibility of locating nature's value as other in aesthetic responses to nature. I argue that such reservations are warranted insofar as they focus on an inadequate 'subjectivist' account of aesthetic experience but are not warranted for all accounts of aesthetic experience, in particular, I will argue that such reservations do not apply to the 'cognitive' model of aesthetic appreciation proposed by Allen Carlson as the 'environmental model' and developed in the work of Yuriko Saito. I conclude this paper by claiming that aesthetic value is a necessary component of otherness as a ground of nature's value and that this needs to be conceded if we are to be able to acknowledge the reality of something other than ourselves, to treat it appropriately and with respect. (shrink)

The subject-matter of this essay is the moral status of nature. This subject is dealt with in terms of normative reasons. The main question is if there are direct normative reasons to care for nature in addition to the numerous indirect normative reasons that there are for doing so. Roughly, if there is some such reason, and that reason applies to any moral agent, then nature has direct moral status as I use the phrase. I develop the notions of direct (...) normative reason and direct moral status in detail and identify and discuss the two main types of theory according to which nature has direct moral status: analogy-based nature-considerism and non-analogy-based nature-considerism. I argue for the plausibility of a particular version of the latter, but against the plausibility of any version of the former. The theory that is representative of AN claims that nature has direct moral status in virtue of possessing interests. Proponents of this theory fail to show that nature has interests of the kind that they reasonably want to ascribe to it, and that interests of this kind are morally significant. In contrast to AN, NN comes in a variety of different forms. I elaborate a version of NN according to which there are direct normative reasons to care for nature in virtue of its unique complexity, and its indispensability. I argue that even if these reasons should turn out not to apply to any moral agent, they are still genuine direct normative reasons: there is nothing irrational or misdirected about them. Finally, I show how the question of whether there are direct normative reasons to care for nature is relevant to private and political decision-making concerning nature. This is exemplified with a case from the Swedish mountain region. (shrink)

A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.

One of the most intriguing – and arguably counter-intuitive – doctrines defended by environmental philosophers is that of positive aesthetics, the thesis that all of nature is beautiful. The doctrine has attained philosophical respectability only comparatively recently, thanks in no small part to the work of Allen Carlson, one of its foremost defenders. In this paper, we argue that the doctrine can be found much earlier in the work of Gottfried Wilhelm Leibniz who devised and defended a version of positive (...) aesthetics in the early modern period, grounded in a conception of the world as a world of monads, each of which individually fulfils the rationalist aesthetic criteria of multiplicity-in-unity and that taken together ensure that the world as a whole is a harmoniously ordered system of multiple and diverse individuals, whose intelligible order and variety is made known to us through natural scientific endeavour. In showing this, we advance two further theses: first, that Leibniz's vers.. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...) a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

Environmental aesthetics is a relatively new sub-field ofphilosophical aesthetics. It arose within analytic aesthetics in thelast third of the twentieth century. Prior to its emergence,aesthetics within the analytic tradition was largely concerned withphilosophy of art. Environmental aesthetics originated as a reactionto this emphasis, pursuing instead the investigation of the aestheticappreciation of natural environments. Since its early stages, thescope of environmental aesthetics has broadened to include not simplynatural environments but also human and human-influenced ones. At thesame time, the discipline has also (...) come to include the examination ofthat which falls within such environments, giving rise to what iscalled the aesthetics of everyday life. This area involves theaesthetics of not only more common objects and environments, but alsoa range of everyday activities. Thus, early in the twenty-firstcentury, environmental aesthetics embraced the study of the aestheticsignificance of almost everything other than art. Together with thisbroader scope of environmental aesthetics, the twenty-first centuryhas also given rise to renewed and more intense investigations of therelationship between environmental aesthetics and environmentalism aswell as to several new interests and directions. (shrink)

Allen Carlson has argued that a science-based model of appreciation is most appropriate in the aesthetic appreciation of nature. While I find his model of appreciation coherent and valuable, I reject his argument that this model ought to be preferred to others, such as an emotion-based or a formalist model of appreciation. Carlson's rejection of these other models is exclusionary and runs counter to pragmatist ideals. I argue for an alternative model, one which accommodates both cognitive and noncognitive models of (...) appreciation, which I call the aesthetic-attention model of appreciation. (shrink)

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...

Review of the first and only existing collection devoted to consideration of links between nature’s beauty and reasons for its preservation. The book collects work by leading aestheticians in the analytic tradition, sourced from top journals in their respective areas. Hoping to inspire potential readers unfamiliar with environmental aesthetics to have a closer look, I make clear what I see as some of the editors’ intentions in organizing the volume as they have, give an idea of the main theoretical views (...) on which most of the argumentative action centers, discuss some of the volume’s highlights, and along the way offer a few thoughts about the way in which the debates in preservationist-inspired environmental aesthetics have so far proceeded. -/- Ethics, Policy & Environment, Volume 14, Issue 2, Page 251-257, June 2011. (shrink)