Environmentalists express concern at the destruction/exploitation of areas of the natural environment because they believe that those areas are of intrinsic value. An emerging response is to argue that natural areas may have their value restored by means of the techniques of environmental engineering. It is then claimed that the concern of environmentalists is irrational, merely emotional or even straightforwardly selfish. This essay argues that there is a dimension of value attaching to the natural environment which cannot be restored no (...) matter how technologically proficient environmental engineers become. The argument involves highlighting and discussing analogies between faking art and faking nature. The pivot of the argument is the claim that genesis is a significant determinant of an area's value. (shrink)

Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. (...) It focuses on why art and a variety of aesthetics matter to us, and on how perceivers participate in and contribute to the experience of appreciating a work of art. With its multicultural and multidisciplinary scope, this volume shows how anthropology, art history, Chinese theories of painting, and other perspectives both enrich and provide alternatives to classic philosophical accounts of art and the aesthetic. (shrink)

The paper is one of the four central texts where Clifford Geertz summarized his ideas. Geertz suggests an understanding of art as a social phenomenon and gives a social anthropological account of aesthetic experience. In opposition to structuralism, which analyzes art as a closed sign system developing according to its inherent logic, and to radical functionalism, which attempts to study art as if its main function was to maintain established institutions of culture, Geertz proposes to view a work of art (...) as a symbolical expression of the significant experience of its creator. In this case the ability of aesthetic perception of the work of art is treated as the ability to recognize the symbols it contains — the ability that results from involvement in the relevant cultural practices. Author illustrates his argument by the examples from the studies of that time: studies of Abelam tribe of New Guinea, Yoruba people of Western Africa, Quattrocento Italia, and modern Morocco. (shrink)

Baudrillard's bewildering thesis, a bold extrapolation on Ferdinand de Saussure's general theory of general linguistics, is in fact a clinical vision of contemporary consumer societies where signs don't refer anymore to anything except themselves. They all are generated by the matrix. Simulations never existed as a book before it was "translated" into English. Actually it came from two different bookCovers written at different times by Jean Baudrillard. The first part of Simulations, and most provocative because it made a fiction of (...) theory, was "The Procession of Simulacra." It had first been published in Simulacre et Simulations. The second part, written much earlier and in a more academic mode, came from L'Echange Symbolique et la Mort. It was a half-earnest, half-parodical attempt to "historicize" his own conceit by providing it with some kind of genealogy of the three orders of appearance: the Counterfeit attached to the classical period; Production for the industrial era; and Simulation, controlled by the code. It was Baudrillard's version of Foucault's Order of Things and his ironical commentary of the history of truth. The book opens on a quote from Ecclesiastes asserting flatly that "the simulacrum is true." It was certainly true in Baudrillard's book, but otherwise apocryphal.One of the most influential essays of the 20th century, Simulations was put together in 1983 in order to be published as the first little black book of Semiotext's new Foreign Agents Series. Baudrillard's bewildering thesis, a bold extrapolation on Ferdinand de Saussure's general theory of general linguistics, was in fact a clinical vision of contemporary consumer societies where signs don't refer anymore to anything except themselves. They all are generated by the matrix.In effect Baudrillard's essay was upholding the only reality there was in a world that keeps hiding the fact that it has none. Simulacrum is its own pure simulacrum and the simulacrum is true. In his celebrated analysis of Disneyland, Baudrillard demonstrates that its childish imaginary is neither true nor false, it is there to make us believe that the rest of America is real, when in fact America is a Disneyland. It is of the order of the hyper-real and of simulation. Few people at the time realized that Baudrillard's simulacrum itself wasn't a thing, but a "deterrence machine," just like Disneyland, meant to reveal the fact that the real is no longer real and illusion no longer possible. But the more impossible the illusion of reality becomes, the more impossible it is to separate true from false and the real from its artificial resurrection, the more panic-stricken the production of the real is. (shrink)

In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. (...) By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty, Heizer's Double Negative, Singer's Lily Pond Ritual Series, and Christo's Running Fence. (shrink)

My aims in this article are threefold. First, I evaluate attempts to drive a wedge between the human and the natural in order to show that destroyed natural environments and extinct species cannot be restored; next, I examine the analogy between aesthetic value and the value of natural environments; and finally, I suggest briefly a different set of analogies with such human associations as families and cultures. My tentative conclusion is that while the recreation of extinct species may be logically (...) impossible, the restoration of natural environments raises only technical difficulties. Opponents of destructive developments which do not exterminate species, therefore, had better look elsewhere, rather than relying on the claim that restoration is logically impossible. (shrink)

My aims in this article are threefold. First, I evaluate attempts to drive a wedge between the human and the natural in order to show that destroyed natural environments and extinct species cannot be restored; next, I examine the analogy between aesthetic value and the value of natural environments; and finally, I suggest briefly a different set of analogies with such human associations as families and cultures. My tentative conclusion is that while the recreation of extinct species may be logically (...) impossible, the restoration of natural environments raises only (formidable, no doubt) technical difficulties. Opponents of destructive developments which do not exterminate species, therefore, had better look elsewhere, rather than relying on the claim that restoration is logically impossible. (shrink)

Can nature be reconstituted, recreated or rehabilitated? And would the goal of doing so be a desirable one? There again, is wild nature intrinsically valuable, or are parks, gardens and farms sometimes preferable or of greater value? This cluster of questions arises from recent debates about preservation, restoration, wilderness and sustainable development. In discussing them I hope to throw some light on both the concept and the value of nature, and in due course on the attitudes which people should have (...) towards it, the policies which should guide their practice, and thus on the proper role of humanity with regard to the natural world. (shrink)

This book presents an up-to-date introduction to the subject that captures the excitement and passion of art itself. It opens by exploring why art is important to us and goes on to grip the reader with a discussion of all of the areas central to aesthetics: aesthetic experience, representation, expression, definition of art, evaluation, interpretation, structuralism and post-structuralism, truth and morality. It draws upon the great thinkers on art, Plato and Kant, Croce and Beardsley, including the most recent iconoclastic views (...) of Barthes and Derrida. (shrink)