ABSTRACT Aesthetic protectionists think nature worth preserving and protecting from harm on aesthetic rather than moral grounds. Their outlook can be compared with the drive to shelter and sustain artworks. As such, protectionists seem rather like curators. However, this kind of attention to natural objects leads to a minimisation of the significance of the naturalness of those objects. This raises questions about the protectionist's real regard for nature. By examining what in nature is aesthetically worthy of protection, and then asking (...) how far one is entitled to go in one's protective mission, it transpires that protectionists have no special stake in sustaining the independence of nature. Indeed, its independence often conspires against their aims. Since that very independence is essential to the natural, protectionism is exposed as having no intrinsic regard for nature. (shrink)

The moral significance of preserving natural environments is not entirely an issue of rights and social utility, for a person’s attitude toward nature may be importantly connected with virtues or human excellences. The question is, “What sort of person would destroy the natural environment--or even see its value solely in cost/benefit terms?” The answer I suggest is that willingness to do so may well reveal the absence of traits which are a natural basis for a proper humility, self-acceptance, gratitude, and (...) appreciation of the good in others. (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)