First, the article illustrates the concept of ‘cultural heritage’ as traditionally meant, namely relying on a historically consolidated narrative. Next, it undertakes a broader conceptual analysis and deals with three distinct issues: (i) the fact that the conceptualizations and uses of heritage largely depend on long lasting dichotomies (e.g., tangible/intangible, natural/cultural); (ii) the way in which cultural backgrounds shape the dynamics of valuing and approaching heritage; (iii) the temporal framing of heritage, which today, in the Anthropocene, also points towards how (...) to deal with a future of uncertainty. Lastly, it introduces the notion of epistemic heritage, (i.e., the existence of multiple cultural ways of knowing), investigating its implications for both how cultural heritage is conceived and the future approached. (shrink)

Do members of cultural groups have special claims to own or control the products of the cultures to which they belong? Is there something morally wrong with employing artistic styles that are distinctive of a culture to which you do not belong? What is the relationship between cultural heritage and group identity? Is there a coherent and morally acceptable sense of cultural group membership in the first place? Is there a universal human heritage to which everyone has a claim? Questions (...) such as these concern the ethics of cultural heritage (or heritage ethics, for short). This entry seeks to provide an overview of the philosophical work on topics in heritage ethics, as well as introduce readers to some of the most philosophically relevant literature from other disciplines. (shrink)

Aesthetic and historical values are commonly distinguished from each other. Yet there has not been sustained discussion of what, precisely, differs between them. In fact, recent scholarship has focused on various ways in which the two are related. I argue, though, that historical value can differ in an interesting way from aesthetic value and that this difference may have significant implications for environmental preservation. In valuing something for its historical significance, it need not always be the case that there is (...) a reason to want people to experience the entity. Valuing something for its aesthetic merit, by contrast, does imply a reason to want people to experience the entity. I suggest that in virtue of this difference, some historical values may offer better justification for preserving natural environments than do aesthetic considerations. (shrink)