A complete translation of Aristotle's classic that is both faithful and readable, along with an introduction that provides the modern reader with a means of understanding this seminal work and its impact on our culture. In this volume, Joe Sachs (translator of Aristotle's _Physics, Metaphysics,_ and the _Nicomachean Ethics _)also supplements his excellent translation with well-chosen notes and glossary of important terms. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a (...) glossary intending to provide the reader with some sense of the terms and the concepts as they were understood by Aristotle’s immediate audience. (shrink)

Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but is fully integrated and continuous with us, The Aesthetics of Environment explores the aesthetic dimensions of the human-environmental continuum in both theoretical terms and concrete situations. From outer space to the museum, from architecture to landscape, from city to countryside to wilderness, this book discovers in the (...) aesthetic perception of environment the reciprocity that constitutes both person and place. (shrink)

Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression.

Published originally in Polish in 19627, it achieved bestseller status and acclaim as the best work of its kind in the world.

The aesthetic appreciation of both art and nature is often, in fact, judged to be more – and less – serious. For instance, both natural objects and art objects can be hastily and unthinkingly perceived, and they can be perceived with full and thoughtful attention. In the case of art, we are better equipped to sift the trivial from the serious appreciation; for the existence of a corpus, and a continuing practice, of criticism of the arts – for all their (...) internal disputatiousness – furnishes us with relevant criteria. In the case of nature, we have far less guidance. Yet it must matter, there too, to distinguish trivial from serious encounters. When we seek to defend areas of “outstanding natural beauty” against depredations, it matters greatly what account we can give of the appreciation of that beauty: how its value can be set alongside competing and vociferously promoted values involved in industry, commerce and urban expansion. If we wish to attach very high value to the appreciation of natural beauty, we must be able to show that more is involved in such appreciation than the pleasant, unfocused enjoyment of a picnic place, or a fleeting and distanced impression of countryside through a touring-coach window, or obligatory visits to standard viewpoints or snapshot-points.That there is much work to be done on this subject is of course due to the comparative neglect of natural beauty in recent and fairly recent aesthetics. (shrink)