For in all natural things there is something marvelous.1 None of nature’s landscapes are ugly so long as they are wild.2 Positive aesthetics is the idea that all of nature is beautiful.3 The more qualified version supported here claims that nature—to the extent it is not influenced by humans—is specially and predominantly beautiful. Some of the most prominent figures in environmental aesthetics and ethics have defended PA. Holmes Rolston III was an early proponent: The Matterhorn leaves us in awe, but (...) so does the fall foliage on any New England hillside, or the rhododendron on Roan Mountain. Those who linger with nature find this integrity where it is not at first suspected, in... (shrink)

This paper explores the practice of rewilding and its implications for environmental aesthetic values, qualities and experiences. First, we consider the temporal dimensions of rewilding in regard to the emergence of particular aesthetic qualities over time, and our aesthetic appreciation of these. Second, we discuss how rewilding potentially brings about difficult aesthetic experiences, such as the unscenic and the ugly. Finally, we make progress in critically understanding how rewilding may be understood as a distinctive form of ecological restoration, while resisting (...) the assimilation of rewilding into wilderness discourses. (shrink)

I argue against two popular claims. The first is a descriptive, empirical thesis about the nature of ordinary human experience: ‘each of us constructs and lives a “narrative” . . . this narrative is us, our identities’ (Oliver Sacks); ‘self is a perpetually rewritten story . . . in the end, we become the autobiographical narratives by which we “tell about” our lives’ (Jerry Bruner); ‘we are all virtuoso novelists. . . . We try to make all of our material (...) cohere into a single good story. And that story is our autobiography. The chief fictional char- acter . . . of that autobiography is one’s self’ (Dan Dennett). The second is a normative, ethical claim: we ought to live our lives narratively, or as a story; a ‘basic condition of making sense of ourselves is that we grasp our lives in a narrative’ and have an understanding of our lives ‘as an unfolding story’ (Charles Taylor). A person ‘creates his identity [only] by forming an autobiographical narrative – a story of his life’, and must be in possession of a full and ‘explicit narrative [of his life] to develop fully as a person’ (Marya Schechtman). (shrink)

Recently in environmental ethics some theorists have advocated narrative accounts of value, according to which the value of environmental goods is given by the role that they play in our narratives. I first sketch the basic theoretical features of a narrative accounts of value and then go on to raise some problems for such views. I claim that they require an evaluative standard in order to distinguish the valuable from the merely valued and that the project of constructing such a (...) standard faces significant problems. I conclude by questioning whether narrative accounts of value really offer advantages over other pluralistic and context-sensitive accounts of value. (shrink)

ABSTRACT What have natural aesthetics and environmentalism in common? Not much if the former deals with nature as if it were an artwork or a gallery of art objects, or if the latter grounds the protection of nature in consequentialist terms. Suppose, however, one adopts a non-consequentialist environmentalism which, further, stakes out a primary view of nature as terrain rather than as habitat; i.e., a view which is not biocentric (life-centred), let alone anthropocentric. This environmentalism is rooted in the belief (...) that we are prima facie bound not to interfere in any of the world undefined by culture whether or not it supports life. There is a reason forbidding us from strip-mining the far side of the moon, say, even though no habitat is thereby destroyed, nor is there any blight creating visual offence to those immediately affected. To furnish the reason for such an ‘acentric’environmentalism, one needs a natural aesthetic. Why? By elimination, because the stock appeals grounding any moral stance—to rights or interests or happiness or autonomy—are unavailable. The ‘subject’of an acentric environmentalism is insensate. But an ‘acentric’aesthetic seems even more curious than its environmentalist dependent. It would entail an aesthetic viewpoint indifferent to human scale and perspective, the very factors which underwrite any cultural aesthetic. So, is such an aesthetic possible? The barest glimpse of how it might look concludes this paper. (shrink)

Environmental aesthetics, largely because of its focus on 'natural' rather than artifactual environments, has ignored postindustrial sites. This article argues that this shortcoming stems from the nature-culture divide and that such sites ought to be considered by environmental aestheticians. Three forms of artistic engagement with postindustrial sites are explicated by looking at the work of Serra, Smithson, and others. It is argued that postindustrial art leads to a successively richer ability to see and thus think about such sites. Finally, a (...) new category is proposed, the interesting, in order to capture the aesthetic experience of postindustrial landscape art that eludes current terminology. (shrink)

The journal Environmental Values is thirty years old. In this retrospective, as the retiring Editor-in-Chief, I provide a set of personal reflections on the changing landscape of scholarship in the field. This historical overview traces developments from the journal's origins in debates between philosophers, sociologists, and economists in the UK to the conflicts over policy on climate change, biodiversity/non-humans and sustainability. Along the way various negative influences are mentioned, relating to how the values of Nature are considered in policy, including (...) mainstream environmental economics, naïve environmental pragmatism, the strategic role of corporations, neoliberalism and eco-modernism/techno-optimism. At the same time core value debates around intrinsic value in Nature and instrumentalism remain relevant, along with how plural environmental values can be articulated and acted upon. Naturalness, human relations to non-humans, and Nature as other, remain central considerations. The broadening of issues covered by the journal (e.g. covering social psychology, sociology and political science), reflect the need to address both human behaviour and the structure of social and economic systems to confront ongoing social-ecological crises. (shrink)

For better or worse, places matter to us. Especially the familiar places we call home—the ones that embody our personal and cultural histories, give our lives a sense of stability, and support the routines of everyday life. Global Climate Change (GCC) poses an existential threat to these places, engendering nonmaterial losses that threaten subjective well-being and overall mental health. Unfortunately, these nonmaterial losses are often overlooked or underappreciated. My aim in this article is to counter this tendency and explore the (...) relationship between people and place in a way that sheds light on the nonmaterial threat of GCC. I approach this task from the lens of everyday aesthetics. While finding adequate compensation for these nonmaterial losses is unlikely, I suggest that sensitivity to the aesthetic texture of everyday life can provide a source of aesthetic consolation that can make the challenges of GCC easier to manage. (shrink)