Environmentalists who seek to protect wild nature, biodiversity and so on for its own sake manifest a disposition to value the interesting at least on par with the useful. This disposition toward the interesting, which provides the affective and cognitive context for the discovery of intrinsic values in nature and the elaboration of ecocentric ethics, does not arise simply from learning about nature but is part of a more general socially inculcated cultural system. Nature connoisseurship exhibits formal parallels with art (...) connoisseurship. The abstraction-oriented cultural system which prizes 'disinterested interest' is characteristic of culturally rich fractions (or subdivisions) of the middle class in modern Western societies. Valuing nature for its own sake (like valuing, for its own sake, the domination of nature) is not a 'natural' response to nature but a disciplined cultural accomplishment. (shrink)

The continuum between nature and artefact is occupied by objects and environments that embody a relationship between natural processes and human activity. In this paper, I explore the relationship that emerges through human interaction with the land in the generation and aesthetic appreciation of industrial farming in contrast to more traditional agricultural practices. I consider the concept of a dialectical relationship and develop it in order to characterise the distinctive synthesising activity of humans and nature which underlies cultivated environments. I (...) argue that a more harmonious relationship, and greater aesthetic value, may be located within traditional farming landscapes. This position is supported and illustrated through a discussion of two agricultural practices in the UK, hedge-laying and stonewalling. (shrink)

In this essay I attempt to move the aesthetics of human environments away from what I call the designer landscape approach. This approach to appreciating human environments involves a cluster of ideas and assumptions such as: that human environments are usefully construed as being in general ''deliberately designed'' and worthy of aesthetic consideration only in so far as they are so designed, that human environments are in this way importantly similar to works of art, and that the aesthetics of human (...) environments thus has much in common with the aesthetics of art. As an alternative to the designer landscape approach, I suggest that the aesthetics of human environments should be understood as a major area of the aesthetics of everyday life. To facilitate this shift I develop the idea of an ecological approach to the aesthetics of human environments and the related notion of functional fit. The ecological approach employs an analogy with natural ecosystems and, by stressing the role of functional fit in each, facilitates the appreciation of both natural and human environments in a way that I characterize as ''looking as they should.'' The upshot, I maintain, is a set of appreciative consequences constituting a more satisfying aesthetic experience of our everyday human environments. (shrink)