Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

Environmental artworks are not an aesthetic affront against nature because the aesthetic qualities of artworks are to some extent a function of other sorts of qualities, such as moral, social, or ecological qualities. By appealing to a new ecological paradigm, we can characterize environmental artworks as anthropogenic disturbances and evaluate them accordingly. Andrew Light’s model of ecological citizenship emphasizes public participation in ecological restoration projects, which are very similar to environmental artworks. Participation in the creation, appreciation, and criticism of environmental (...) art can count as a form of ecological citizenship when these practices provoke public deliberation about environmental and other community-regarding values. (shrink)

In a companion volume to his "History of Beauty," the renowned philosopher and cultural critic analyzes our attraction to the gruesome, horrific, and repellant in visual culture and the arts, drawing on abundant examples of painting and sculpture, ranging from antiquity to the works of Bosch, Goya, and others.

Aesthetics and the Environment presents fresh and fascinating insights into our interpretation of the environment. Traditional aesthetics is often associated with the appreciation of art, but Allen Carlson shows how much of our aesthetic experience does not encompass art but nature--in our response to sunsets, mountains or horizons or more mundane surroundings, like gardens or the view from our window. Carlson argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that (...) a scientific understanding of nature can enhance our appreciation of it, rather than denigrate it. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Positive aesthetics holds that the natural environment, insofar as it is unaffected by man, has only positive aesthetic qualities and value-that virgin nature is essentially beautiful. In spite of the initial implausibility of this position, it is nonetheless suggested by many individuals who have given serious thought to the natural environment and to environmental philosophy. Certain attempts to defend theposition involve claiming either that it is not implausible because our appreciation of nature is not genuinely aesthetic, or that the position (...) is justified in virtue of man’s limited control and understanding of the natural world or in virtue of the natural world’s divine design and origin. Such attempts are inadequate; they neither justify the position nor explain its acceptance. In order to account for positive aesthetics,we must note the intimate connection between nature appreciation and the development of natural science. An understanding of the role of scientific knowledge in the aesthetic appreciation of nature not only sheds light on the acceptance of the positive aesthetics position, but also suggests a means by which to justify it. (shrink)

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always beautiful (...) (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Land art requires careful evaluation when assessing its aesthetic and ethical value. Critics of land art charge that it is unethical in that it uses nature without such use being justified by some future good. Other critics charge that land art harms nature aesthetically. In this essay, the author canvasses these charges and argues that some land art is ethically and aesthetically defensible, and that some has great and rare potential in both realms.

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...) how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (shrink)

This book examines the social and philosophical attitudes in Western culture that relate to the environment including aesthetics, wildlife, and land use. Both the historical significance and a framework for further discussions of environmental ethics are discussed in the book.

Industrial interventions in the landscape leave their imprint in a permanent way, but there remain options on how to deal with land even at that point in time. In this essay, three alternatives are considered: leaving such sites as they are, restoring them to a condition resembling their original state, or transforming them into artworks. The author focuses in particular on the third option in order to determine to what degree it is possible for artistic reclamation to redeem such blights (...) in the landscape. the work of art is beautiful to the degree that it opposes its own order to that of reality . Herbert Marcuse, 1978, p. 64. (shrink)

I begin by demonstrating the inadequacy of the idea that the aesthetic appreciation of nature should be understood as the appreciation of nature as if it were art. This leads to a consideration of three theses: from the aesthetic point of view natural items should be appreciated under concepts of the natural things or phenomena they are, what aesthetic properties a natural item really possesses is determined by the right categories of nature to experience the item as falling under, and (...) the natural world untouched by humanity is essentially aesthetically good. I indicate an unclarity in and identify difficulties facing . I distinguish various versions of , reject certain of these, and fault a number of arguments in support of . I conclude that the idea of the aesthetic value of a natural item is such that it endows the aesthetic appreciation of nature with a freedom and relativity denied to the appreciation of art and renders problematic. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

The distinction between organic and inorganic nature receives little attention in contemporary nature aesthetics. Traditionally, however, this distinction was considered to have important aesthetic ramifications. Nick Zangwill has recently suggested that aesthetic differences between organic and inorganic nature arise because natural functions are present only in organic nature (for example, in the parts of organisms). I argue for a different explanation: though inorganic nature too has natural functions, these are metaphysically distinct from those characteristic of organic nature. I defend the (...) claim that this difference in functions is aesthetically significant, and use it to justify a common intuition about the thesis of positive aesthetics for nature. (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)