I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends (...) to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it’s a source of a more important anthropocentric value than has hitherto been acknowledged. (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 article engages in debates about the potential for aesthetics to be a positive, ethical, and moral frame for relating to the environment. Human‐environment relations are increasingly tied up with aesthetics. We problematize this trend by contending that aesthetics is an insufficient paradigm to motivate and shape environmentalism because it exceptionalizes some landscapes while devaluing others. This article uses four illustrative case studies to complicate aesthetic environmentalist frames. These case studies indicate that even when positive aesthetic qualities are deployed in (...) environmentalist advocacy, their usefulness is mitigated by a range of factors including: sensationalization, obfuscation, and further degradation. (shrink)

Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective and (...) morally engaged. I then examine two contemporary positions concerning appropriate aesthetic appreciation of nature, the aesthetics of engagement and scientific cognitivism, assessing each in terms of the requirements of environmentalism. (shrink)

Experimental philosophy of art and aesthetics is the application of the methods of experimental philosophy to questions about art and aesthetics. By taking a scientific approach to experiences with art and aesthetic phenomena, it is continuous with the longstanding research program in psychology called empirical aesthetics. However, it is also continuous with traditional research in philosophy of art and aesthetics because it is centered on many of the same timeless questions. Like other branches of experimental philosophy, such as experimental moral (...) philosophy, it involves gathering data using empirical methods and bringing analyses of the data to bear on theorizing on a wide range of topics in philosophy of art and aesthetics: definition of art, ontology of art, aesthetic properties, aesthetic judgments, aesthetic adjectives, morality and aesthetics, and emotion and art. In this entry, we briefly examine the history prior to the current movement’s emergence in the 2010s, extensively survey extant works in this movement on each of the topics, and consider methodological debates regarding this movement. (shrink)

Biodiversity loss is an immense ecological crisis of our time. But while “biodiversity” has become a buzzword in media and policy, conservationists have found it difficult to build a common understanding on the nature and severity of biodiversity loss and the means to tackle it. Perhaps surprisingly, many biologists and philosophers have proposed that biodiversity might be best defended with reference to its aesthetic value. This article explores whether aesthetic values could provide strong support for biodiversity conservation. By exploring the (...) question from the viewpoints of species diversity, ecosystem diversity, and genetic diversity, we argue that there is a mismatch between apparent and real biodiversity and that aesthetics can, at best, give only limited support for biodiversity conservation. (shrink)

“de-extinction” refers to the process of resurrecting extinct species by genetic methods. This science-fiction-sounding idea is in fact already in early processes of scientific implementation. Although this recent “revival of the dead” raises deep ethical questions, the ethics of de-extinction has barely received philosophical treatment. Rather than seeking a verdict for or against de-extinction, this paper attempts an overview and some novel analyses of the main ethical considerations. Five dimensions of the ethics of de-extinction are explored: (a) the possible contribution (...) of de-extinction to promoting ecological values, (b) the deontological argument that we owe de-extinction to species we rendered extinct, (c) the question of “playing God” through de-extinction, (d) the utilitarian perspective, and (e) the role of aesthetic considerations in the ethics of de-extinction. A general feature arising from the paper’s discussion is that, due to de-extinction’s special character, it repeatedly tests the limits of our ethical notions. (shrink)

Animal beauty provides a significant aesthetic reason for protecting nature. Worries about aesthetic discrimination and the ugliness of predation might make one think otherwise. Although it has been argued that aesthetic merit is a trivial and morally objectionable basis for action, beauty is an important value and a legitimate basis for differential treatment, especially in the case of animals. While the suffering and death of animals due to predation are important disvalues that must be recognized, predation’s tragic beauty has positive (...) aesthetic value that can be appropriately aesthetically appreciated. (shrink)