In environmental aesthetics a variety of proposals have been advanced about relevant norms that constrain appropriate aesthetic appreciation of nature. Some of these proposals are about cognitive or epistemic norms in that the authors claim that nature ought to be cognized in certain ways or that we ought to form certain beliefs about nature rather than others, and that when we do so, it will significantly constrain our aesthetic appreciation of nature. Another proposal is that moral norms rule out certain (...) forms of aesthetic appreciation of natural objects and promote others. If these proposals are correct, then different kinds of value interact in the realm of environmental aesthetics. Evaluation of these proposals inevitably involves two parts. One first has to ask whether the purported norms exist. If they do, one has to assess their bearing on evaluative aesthetic judgments. Although there are weak epistemic norms of nature appreciation, they lack important implications sometimes associated with them. The situation is even less promising for moral norms: no one has successfully identified a moral norm that constrains aesthetic appreciation of nature. (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)

S. 39: "My project in this paper is to develop the initial distinction which I have drawn between recognition and appraisal respect into a more detailed and specific account of each. These accounts will not merely be of intrinsic interest. Ultimately I will use them to illuminate the puzzles with which this paper began and to understand the idea of self-respect." 42 " Thus, insofar as respect within such a pursuit will depend on an appraisal of the participant from the (...) perspective of whatever standards are held to be appropriate to the pursuit, such respect will depend on a judgement to which excellences of character are thought relevant. Note that exactly what aspect of the person's character is thought to be relevant in this instance is his recognition respect (or lack of it) for the standards of the pursuit." 44 "This attitude fails of being appraisal respect in that my having it toward the person is conditional on those traits being such as to make him server a particular purpose that I happen to have" 44 - 45 "To sum up: Appraisal respect is an attitude of positibe appraisal of a person either judged as a person or as engaged in some more specific pursuit. In the first case, the appropriate grounds are features of the person's character: dispositions to act for particular reasons or a higher-level disposition to act for the best reasons. In the second case, though features of character do not exhaust the appropriate grounds for appraisal respect, some such character traits will be relevant (recognition respect for the standards of a particular pursuit). Also, the other features which constitute the appoprate excellences of the pursuit must be related to traits of character in the way specified. In both cases, the positive appraisal of the person, and of his traits, must be categorical. It cannot depend on the fact that the person, because of his traits, serves an interest or purpose of one's own." 45 "To have recognition respect for someone as a person is to give appropriate weight to the fact that he or she is a person by being willing to constrain one's behaviour in ways required by that fact." 45 "This is rather different from having an attitude of appraisal respect for someone as a person. The latter is a positive appraisal oif an individual made with regard ti those features which are excellences of persons. As such, it is not owed to everone, for it may or may not be merited. When it is, what is merited is just the positive appraisal itself." 47 "Second, the only beings who are approriate objects of appraisal respect are those who are capable of acting for reasons and hence capable of conceiving of various facts as meriting more or less consideration in deliberation.". (shrink)

Yuriko Saito discusses aspects of our everyday experience that have been neglected by modern Western aesthetic theories.

This essay discusses how the aesthetics of body movements contributes to cultivating other-regarding moral virtues, such as respect and care. The moral and aesthetic assessment of body movements is commonly regarded as a matter of etiquette and manners, which is considered to be nothing more than a superficial convention or a means of maintaining social hierarchy. I argue instead that body movements often facilitate an aesthetic communication of social virtues. As such, body aesthetics is an indispensable ingredient of a good (...) society. The Japanese aesthetic tradition offers a particularly rich legacy of developing the moral character of a person through bodily practices in the artistic, religious, and everyday realms. I will present and analyze various examples from Japanese cultural tradition to illustrate the significance of body aesthetics as a vehicle of cultivating moral virtues. (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)

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)

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.

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)