Naess and Sessions “Deep Ecology Platform” provided a loose framework for a movement that was gaining momentum after a series of successful social and political actions and events throughout the 1970s and early 1980s. Most of the points are essentially adopted from Naess’ earlier work, which provided the basis for a number of the core concepts expressed in the later eight points and is largely an expression of a movement that sought to create a shift in consciousness of society towards (...) the natural world. It is probably better understood as a lose framework that encapsulates a world view and perspective of nature which is better understood as an aesthetic movement rather than a moral or ethical movement. (shrink)

This paper recognises the many contributions to work on environmental values while arguing that some reconsideration of elicitation practices is warranted. It argues that speaking and thinking about certain environmental values, particularly ethical expressions, are ill-matched with the affectively neutral, direct question-answer formats standard to willingness-to-pay and survey methods. Several indirect, narrated, and affectively resonant elicitation tasks were used to provide study participants with new opportunities to express their values. Coded results demonstrate that morally resonant, image- based, and narrative-style elicitation (...) tasks help respondents articulate a broader range of noncost and nonutilitarian environmental values. However, it was found that elicitations of this kind are most useful when presented in a affectively subtle and noncontroversial form. Several suggestions for synthesising these methods with more structured forms are offered. (shrink)

Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...) art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God's creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science. (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)

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)

This paper focuses on natural aesthetics as it relates to an ecological ethics informed by Aldo Leopold and by two contemporary environmental ethicists inspired by him: Callicott and Rolston. By contrast to Callicott, Rolston's work emphasises the distinctive character of natural beauty and gives reasons to understand such beauty as foundational for acting morally in the natural world. This paper argues, on these theoretical grounds, that an informed natural aesthetics is a requirement of an environmental ethics on account of the (...) co-relational link between the integrity, balance and beauty of the biotic community. This more objective foundation can better support conservationist movements in practice, bringing together natural beauty and duty in the pursuit of a closer harmony between humankind and the natural world. (shrink)

Ziran, an idea from ancient Daoism, defies easy translation into English but can almost be captured by the term "spontaneity." It means "self-causation," if "self" is understood as fundamentally plural, and "causation" is understood as sensitivity and responsiveness. Applying ziran to the fields of action theory, attention theory, and aesthetics, Brian Bruya uses easy-to-read, straightforward prose to show, step-by-step, how this philosophical concept from an ancient tradition can be used to advance theory today. Incorporated into contemporary philosophy of action, ziran (...) opens us to the notion of movement and action as self-organizing. Incorporated into contemporary cognitive science, ziran opens us to the possibility of effortless attention, contrary to the reigning paradigm. Incorporated into contemporary aesthetics, ziran opens us to a new category of art--somatic art--and a new, refined understanding of improvisation"-- Back cover. (shrink)

Forests in Nepal are central in people's imaginations and daily lives and are a key means to social, political and economic power. This paper explores how an aesthetic appreciation of forests is tied in to other knowledges and experiences including the social-politics of resource use and management in the context of community forestry in Nepal. As such, more than one 'forest' inhabits the same spatial extent and these socially and politically framed views are central to aesthetic valuing of forests. The (...) paper thus argues for a 'thick' aesthetics that ties together an understanding of the forest as an ecologically and socially emergent entity with a variety of knowledges that inform aesthetic valuing to analyse how competing visions of what the forest ought to be materialise. (shrink)

This article is a response to yuriko saito's "is there a correct aesthetic appreciation of nature?" (jae 18:4) which challenges the position on the aesthetic appreciation of nature that i develop in a series of recent articles. i here consider saito's arguments, concluding that they neither establish the correctness of a wide range of kinds of aesthetic appreciations of nature nor undercut the grounds for the prominence i grant to scientific considerations in such appreciation.