Environmental ethicists have been arguing for decades that swift action to protect our natural environment is morally paramount, and that our concern for the environment should go beyond its importance for human welfare. It might be thought that the widespread acceptance of moral anti-realism would undermine the aims of environmental ethicists. One reason is that recent empirical studies purport to show that moral realists are more likely to act on the basis of their ethical convictions than anti-realists. In addition, it (...) is sometimes argued that only moral realists can countenance the claim that nature is intrinsically valuable. Against this, we argue that the acceptance of moral anti-realism is no threat to the environmentalist cause. We argue, further, that the acceptance of moral realism is potentially an obstacle to delivering on a third core environmental ethicist demand: namely, that successful action on climate change and environmental destruction requires us to change some of our commonly-held ethical views and to achieve a workable consensus. (shrink)

As incoming Editor and Deputy Editor we describe our impression of the current situation that those committed to understanding and upholding environmental values find themselves in. We consider some of the factors that make enviornmental concern difficult to maintain, including conditions that affect us as academics, publishers, global citizens and activists. We describe some of the emerging trends that have appeared in Environmental Values in recent years, in philosophy, ecological economics, critical social science and widening interdisciplinarity in the environmental humanities. (...) We highlight the journal's commitment to engaged, plural and open investigation of environmental values and consider what we might expect and hope for in the coming years. (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)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

The aesthetic appreciation of animals in China is different from that in the West. In this paper, I identify these differences by tracing the various definitions of the word ‘animal’ in Chinese, an...

Conceptualism in natural aesthetics takes knowledge of natural objects to be necessary for their appropriate appreciation. Concentrating on animals, I explore a particular version of conceptualism – functionalism – in light of debates about the effects of cognition on perception - so-called ‘cognitive penetration of perception.’ I establish the claims about cognitive penetration to which functionalism is committed, and assess the implications of its assumptions for the normative claim that functional appreciation is most appropriate to nature. I argue that functionalism (...) has not yet provided strong reasons for thinking that knowledge affects perception in the relevant ways, and in ways required by its normative claims. (shrink)

Corporeality of human beings should be taken seriously and be included in their self-understanding as the ‘nature we are ourselves’. Such an ecophenomenological account has important normative implications. Firstly, I argue that the instrumental value of nature can be particularly well justified based on an ecophenomenological approach. Secondly, sentience is inseparable from corporeality. Therefore, insofar as it is a concern of the ecophenomenological approach to take corporeality and its implications seriously, sentient beings deserve direct moral consideration. Thirdly, it can strengthen (...) the so-far underestimated category of eudaimonic values of nature, which can be best developed through an ecophenomenological reconstruction. Taken together, ecophenomenology is vital for environmental ethics and helps us to leave behind its widespread ‘centrism’. Ecophenomenology should therefore, both methodically and philosophically, be included in the discussion of environmental ethical problems. (shrink)