Taking hunting as an example, an account of animal beauty as animation can be developed. Our delight in many kinds of animals is crucially a matter of an aesthetic property which can be called “the animate” or “animation.” A proper response to animate animal beauty is a virtuous character trait that hunters lack. The beauty of animals calls for particular responses from observers: it brings along certain duties and requires the cultivation of certain traits of character—ones that are incompatible with (...) hunting animals. An argument against hunting animals can move from aesthetic value to ethical value relying on the aesthetic notion of disinterestedness. (shrink)

Animating Maurice Merleau-Ponty’s phenomenological idea of the body as a pre-reflective organizing principle in perception, consciousness and language has become a productive and popular endeavor within philosophy of mind during the last two decades. In this context Merleau-Ponty’s descriptions of an embodied mind has played a central role in the attempts to naturalize phenomenological insights in relation to cognitive science and neuropsychological research. In this dialogue the central role of art and aesthetics in phenomenology has been neglected or at best (...) treated as a peripheral phenomenon. In this article I argue that the failure to place art and aesthetics at the center of thought within phenomenology leads to a neglect of the expressive primacy of the body in movement. In the current naturalization of phenomenology the questions related to expressive movement are often consigned to the notions of motor intentionality or gesture. However, in his book How the Body Shapes the Mind the philosopher Shaun Gallagher interestingly concludes, based on experimental results, that bodily movements of gesture cannot be accounted for by the phenomenologically adapted notions of ‘body image’ and ‘body schema’. Symptomatically, Gallagher ends his chapter on bodily gesture with a section title asking the relevant question that remains unanswered within a phenomenology of mind: Expressive movement from the beginning? The search for an answer to this question points, in my view, to the possibility of a more radical understanding of the embodied mind based on the primacy of expressive experimentation rather than representational experience, which makes the question of art and aesthetics a core issue. Following the image of thought in the philosophy of Gilles Deleuze I argue that art, as the production of sensation through experimentation, presents us with a mode of thinking that accounts for expressive bodily movement as a constitutive force in subjective thought and experience. (shrink)

Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...) environmental aesthetics, and develops a critique of the differing ecological aesthetics of Jusuck Koh and Xiangzhan Cheng. (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)

I defend moderate formalism about the aesthetics of nature. I argue that anti-formalists cannot account for the incongruousness of much natural beauty. This shows that some natural beauty is not kind-dependent. I then tackle several anti-formalist arguments that can be found in the writings of Ronald Hepburn, Allen Carlson, and Malcolm Budd.

The ancient aesthetics of yijing has played a crucial role in traditional Chinese philosophy, literature and art since the eighth century CE. Defined variously by early and contemporary writers, yijing links an artist's emotional domain to objects in the world. This article conceptualises yijing as an ecological aesthetics and distinguishes it from an environmental aesthetics. In particular, two aspects of yijing render it an eco-aesthetics: subject–object correspondence (or ‘engagement'); and empathic identification with the environment (or ‘bio-empathy'). Three brief case studies (...) from urban planning, environmental conservation and the creative arts demonstrate the contemporary importance of yijing to ecological issues. (shrink)

The concepts of animal, human, and rights are all part of a philosophical tradition that trades on foreclosing the animal, animality, and animals. Rather than looking to qualities or capacities that make animals the same as or different from humans, I investigate the relationship between the human and the animal. To insist, as animal rights and welfare advocates do, that our ethical obligations to animals are based on their similarities to us reinforces the type of humanism that leads to treating (...) animals—and other people—as subordinates. But, if recent philosophies of difference are any indication, we can acknowledge difference without acknowledging our dependence on animals, or without including animals in ethical considerations. Animal ethics requires rethinking both identity and difference by focusing on relationships and responsivity. My aim is not only to suggest an animal ethics but also to show how ethics itself is transformed by considering animals. (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)

Recently, several authors have defended a new version of formalism in the aesthetics of nature and attempted to refute earlier arguments against the doctrine. In this essay, we assess this new formalism by reconsidering the force of antiformalist arguments against both traditional formalism and new formalism. While we find that these arguments remain effective against traditional formalism, new formalism falls largely beyond their scope. We therefore provide a novel line of argument for the insignificance of the formal appreciation of nature. (...) This argument suggests that new formalism is inadequate as a theory of the aesthetics of nature. (shrink)

Although recent work in philosophical aesthetics has brought welcome attention to the beauty of nature, the aesthetic appreciation of animals remains rarely discussed. The existence of this gap in aesthetic theory can be traced to certain ethical difficulties with aesthetically appreciating animals. These difficulties can be avoided by focusing on the aesthetic quality of “looking fit for function.” This approach to animal beauty can be defended against the view that “looking fit” is a non-aesthetic quality and against Edmund Burke’s famous (...) critique of the connection between fitness and the beauty of animals. (shrink)

Distinguishing between the source and the locus of value enables environmental philosophers to consider not only what is of value, but also to try to develop a conception of valuation that is itself ecological. Such a conception must address difficulties caused by the original locational metaphors in which the distinction is framed. This is done by reassessing two frequently employed models of valuation, perception and desire, and going on to show that a more adequate ecological understanding of valuation emerges when (...) these models are fully contextualized in the intersecting life worlds of the ecological community. Ecological evaluation takes place in ongoing encounters between these worlds and a crucial part in this process is assigned to living beings that are “open-endedly open,” that is, open not only to what the world affords them and others, but open to an indefinite field of possible valuational encounters between all kinds of beings. Ecological valuation overcomes some of the conceptual failings of contemporary attempts to evaluate nature: “The Economics of Ecology and Biodiversity” and “Valuing Nature.”. (shrink)