Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The ‘everything change’, as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the ‘scientific’ approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the competing (...) ‘non-scientific’ approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

I present a Third World critique of the trend in American environmentalism known as deep ecology, analyzing each of deep ecology’s central tenets: the distinction between anthropocentrism and biocentrism, the focus on wildemess preservation, the invocation of Eastem traditions, and the belief that it represents the most radical trend within environmentalism. I argue that the anthropocentrism/biocentrism distinction is of little use in understanding the dynamics of environmental degredation, that the implementation of the wildemess agenda is causing serious deprivation in the (...) Third World, that the deep ecologist’s interpretation of Eastem traditions is highly selective, and that in other cultural contexts radical environmentalism manifests itself quite differently, with a far greater emphasis on equity and the integration of ecological concems with livelihood and work. I conclude that despite its claims to universality, deep ecology is firmly rooted in American environmental and cultural history and is inappropriate when applied to the Third World. (shrink)

I propose that the appropriate appreciation of nature must include the moral capacity for acknowledging the reality of nature apart from humans and the sensitivity for listening to its own story. I argue that appreciating nature exclusively as design is inappropriate to the extent that we impose upon nature a preconceived artistic standard as well as appreciation based upon historical/cultural/literary associationsinsofar as we treat nature as a background of our own story. In contrast, aesthetic appreciation informed by our attempt to (...) make sense of nature, such as science, mythology, and folklore, is appropriate because it guides our experience toward understanding nature’s own story embodied in its sensuous surface. (shrink)

I present a Third World critique of the trend in American environmentalism known as deep ecology, analyzing each of deep ecology’s central tenets: the distinction between anthropocentrism and biocentrism, the focus on wildemess preservation, the invocation of Eastem traditions, and the belief that it represents the most radical trend within environmentalism. I argue that the anthropocentrism/biocentrism distinction is of little use in understanding the dynamics of environmental degredation, that the implementation of the wildemess agenda is causing serious deprivation in the (...) Third World, that the deep ecologist’s interpretation of Eastem traditions is highly selective, and that in other cultural contexts radical environmentalism manifests itself quite differently, with a far greater emphasis on equity and the integration of ecological concems with livelihood and work. I conclude that despite its claims to universality, deep ecology is firmly rooted in American environmental and cultural history and is inappropriate when applied to the Third World. (shrink)

Recent work in the philosophy of biology has attempted to clarify and defend the use of the biodiversity concept in conservation science. I argue against these views, and give reasons to think that the biodiversity concept is a poor fit for the role we want it to play in conservation biology on both empirical and conceptual grounds. Against pluralists, who hold that biodiversity consists of distinct but correlated properties of natural systems, I argue that the supposed correlations between these properties (...) are not tight enough to warrant treating and measuring them as a bundle. I additionally argue that deflationary theories of biodiversity don’t go far enough, since a large proportion of what we value in the environment falls outside bounds of what could reasonably be called “diversity”. I suggest that in current scientific practice biodiversity is generally an unnecessary placeholder for biological value of all sorts, and that we are better off eliminating it from conservation biology, or at least drastically reducing its role. (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)

This essay is an overview of recent research aimed at establishing a link between environmental aesthetics and environmental ethics. I review the work of several prominent environmental philosophers and environmental aestheticians, spelling out some of the difficulties confronting various attempts to find such a link. While I argue that a case can be made for a connection between environmental aesthetics and environmental ethics concerning human‐created and human‐influenced environments, I find that there are a number of problems facing attempts to establish (...) a similar connection for natural or pristine environments. I examine some attempts to support such a connection, including each of two different accounts of the aesthetic appreciation of nature in contemporary Western environmental aesthetics as well as the union of these two accounts, sometimes called ecoaesthetics. I briefly discuss two Western versions of ecoaesthetics and then turn to research by Chinese aestheticians, who defend a more robust version of ecoaesthetics. I suggest that this latter work may succeed in connecting environmental aesthetics and environmental ethics, although not in exactly the way in which such a link has been pursued by Western philosophers. (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)

This paper analyzes the concept of biodiversity in conservation biology and assesses potential methods for its measurement.

One seldom-noted consequence of most recent arguments for “animal rights” or against “speciesism” is their inability to provide a justification for differential treatment on the basis of species membership, even in cases of rare or endangered species. I defend the claim that arguments about the moral status of individual animals inadequately deal with this issue, and go on, with the help of several test cases, to reject three traditional analyses of our alleged obligation to protect endangered species. I conclude (a) (...) that these traditional analyses fail, (b) that there is an important conceptual confusion in any attempt to ascribe value to a species, and (c) that our obligation must ultimately rest on the value---often aesthetic-of individual members of certain species. (shrink)

A quarter of a century ago, a group of scientists and conservationists introduced ‘biodiversity’ as a media buzzword with the explicit intent of galvanizing public and political support for environ...

Like many environmental philosophers, I find the idea that the beauty of wildernesses makes them valuable in their own right and gives us a moral duty to preserve and protect them to be attractive. However, this appeal to aesthetic value encounters a number of serious problems. I argue that these problems can best be met and overcome by recognizing that the appreciation of natural environments and the appreciation of great works of arts are activities more similar than many people have (...) supposed. (shrink)

This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a reformist attitude towards natural aesthetics. I (...) argue that these approaches fail. Third, development can be as aesthetically positive as nature. If it is simply beauty we are looking for, why can't the beauty of a wellconstructed dam or a magnificent skyscraper suffice? (shrink)

Scientific cognitivists argue formalist aesthetics of nature are (i) inadequate for appreciating the full range of nature’s aesthetic values and (ii) too subjective to be useful for defending nature conservation. I argue that (i) is false because moderate formalists can appreciate nature for its performances, not merely objects and vistas. I argue (ii) is false because moderate formalists can argue that appreciation of beauty (including natural beauty) is a constitutive good of human flourishing, whose realization relies on access to a (...) rich and diverse array of aesthetically rewarding experiences throughout a lifetime. On these grounds, moderate formalists (among others) can justify conserving distinctive natural entities and environs for our own and future generations’ good. (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)

This open access book features essays written by philosophers, biologists, ecologists and conservation scientists facing the current biodiversity crisis. Despite increasing communication, accelerating policy and management responses, and notwithstanding improving ecosystem assessment and endangered species knowledge, conserving biodiversity continues to be more a concern than an accomplished task. Why is it so?The overexploitation of natural resources by our species is a frequently recognised factor, while the short-term economic interests of governments and stakeholders typically clash with the burdens that implementing conservation (...) actions imply. But this is not the whole story. This book develops a different perspective on the problem by exploring the conceptual challenges and practical defiance posed by conserving biodiversity, namely: on the one hand, the difficulties in defining what biodiversity is and characterizing that “thing” to which the word ‘biodiversity’ refers to; on the other hand, the reasons why assessing biodiversity and putting in place effective conservation actions is arduous. (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)

Aesthetic value, often viewed as subjective and even trivial compared to other environmental values, is commonly given low priority in policy debates. In this paper I argue that the seriousness and importance of aesthetic value cannot be denied when we recognise the ways that aesthetic experience is already embedded in a range of human practices. The first area of human practice considered involves the complex relationship between aesthetic experience and the development of an ethical attitude towards the environment. I then (...) discuss how aesthetics has played a role in scientific study and the use of evaluative aesthetic concepts in science, such as variety and diversity. The final section shows the connection between the beneficial effects of aesthetic engagement with nature and the restorative value of nature for human well-being. (shrink)

Why should governments or individuals invest time and resources in conserving biodiversity? A popular answer is that biodiversity has both instrumental value for humans and intrinsic value in its own right. Defending Biodiversity critically evaluates familiar arguments for these claims and finds that, at best, they provide good reasons for conserving particular species or regions. However, they fail to provide a strong justification for conserving biodiversity per se. Hence, either environmentalists must develop more compelling arguments for conserving biodiversity or else (...) they should modify their agenda. This short precis is an overview of the central findings of our book. (shrink)

Much recent discussion in the aesthetics of nature has focused on Scientific cognitivism, the view that in order to engage in a deep and appropriate aesthetic appreciation of nature, one must possess certain kinds of scientific knowledge. The most pressing difficulty faced by this view is an apparent tension between the very notion of aesthetic appreciation and the nature of scientific knowledge. In this essay, I describe this difficulty, trace some of its roots and argue that attempts to dismiss it (...) fail. I then develop a response to the problem, drawing on the notion of the theory-ladenness of observation. I conclude by considering the relationship between this response and one common approach to the problem, the appeal to expressive qualities in nature. (shrink)

Concern for the fate of rare species leads us to ask why the extermination of species is wrong. No satisfactory account can be given in terms of animal rights, and a speciesist perspective can yield at best only a case for preservation of those species which enough people happen to care about. An attempt is made to analyze the concept of rarity, and its relation to value. Finally, it is suggested that the problem can be resolved only in terms of (...) an environmental ethic, according to which the existence of each species, and of ecological wholes, is held to have intrinsic value. (shrink)

Aesthetic preservation is the idea of sparing natural areas from development because of their aesthetic value. In this article I discuss a problem for aesthetic preservation that I call the ‘hidden gems problem’: in certain cases, the natural area under consideration is so remote and/or fragile that few people can actually experience it. In these cases, it becomes unclear how nature's aesthetic value can justify its preservation when development promises practical human benefits. After rejecting some potential responses to the hidden (...) gems problem, I offer a different solution. I argue that we have an aesthetic reason to preserve nature's hidden gems because they are required to produce ‘true judges’ of aesthetic value, who are capable of improving the general quality of taste for landscape. I develop this argument using the example of recent preservationist efforts to save the isolated landscape of Sable Island, Nova Scotia. (shrink)

Mountains were once no less feared and loathed than wetlands. Mountains, however, were aesthetically rehabilitated (in part by modern landscape painting), but wetlands remain aesthetically reviled. The three giants of American environmental philosophy--Thoreau, Muir, and Leopold--all expressed aesthetic appreciation of wetlands. For Thoreau and Muir--both of whom were a bit misanthropic and contrarian--the beauty of wetlands was largely a matter of their floral interest and wildness (freedom from human inhabitation and economic exploitation). Leopold's aesthetic appreciation of wetlands was better informed (...) by evolutionary natural history and ecology. For example, cranes--wetland denizens--are more ancient than other large American avifauna and this evolutionary information and perspective enhances our aesthetic experience of them; and the ecological relationships between wetland species--such as sphagnum moss, tamaracks, and pitcher plants--informs our aesthetic experience of the wetlands biotic community. The Leopold land aesthetic involves all sensory modalities, emphasizes cognition as well as sensation (in this regard it may fruitfully be compared to the philosophy of Kant), and is more akin to an aesthetic of muisic than to an aesthetic of painting. (shrink)

This article considers several of the most famous arguments for our being under a moral obligation to preserve species, and finds them all wanting. The most promising argument for preserving all varieties of species might seem to be an aesthetic one. Unfortunately, the suggestion that the moral basis for the preservation of species should be construed as similar to the moral basis for the preservation of a work of art seems to presume (what are now widely regarded as) erroneous conceptualizations (...) of "species". The article concludes by arguing that more promising approaches to how "species" ought to be conceptualized suggest that the preservation of species should be construed as of far greater aesthetic importance than is suggested by focusing upon the preservation of any single work of art. Hence, if we have a moral obligation to preserve a single artwork, then we have a far greater moral obligation to preserve species than has often been presumed. (shrink)

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 question is raised, whether there are peculiarly scientific values which can be applied in environmental assessment. The use of the expression ‘scientific interest’ is traced from its 19th century origins to modern British statutes. It is argued that attempts to replace expert judgements by objective scientific criteria can never be completely successful. In particular, ‘interest’ is an aesthetic atribute particularly valued by scientists but incapable of precise measurement. While science provides the best framework for informed judgements on conservation issues, (...) the judgements of scientists are inevitably distinct from their experimental results. Judgements rest on ethical and aesthetic values such as importance and interest, which are essential constituents of the scientific sub-culture, but which are not uniquely ‘scientific”. (shrink)