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)

Positive aesthetics holds that the natural environment, insofar as it is unaffected by man, has only positive aesthetic qualities and value-that virgin nature is essentially beautiful. In spite of the initial implausibility of this position, it is nonetheless suggested by many individuals who have given serious thought to the natural environment and to environmental philosophy. Certain attempts to defend theposition involve claiming either that it is not implausible because our appreciation of nature is not genuinely aesthetic, or that the position (...) is justified in virtue of man’s limited control and understanding of the natural world or in virtue of the natural world’s divine design and origin. Such attempts are inadequate; they neither justify the position nor explain its acceptance. In order to account for positive aesthetics,we must note the intimate connection between nature appreciation and the development of natural science. An understanding of the role of scientific knowledge in the aesthetic appreciation of nature not only sheds light on the acceptance of the positive aesthetics position, but also suggests a means by which to justify it. (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)

Prevailing accounts of natural values as the subjective response of the human mind are reviewed and contested. Discoveries in the physical sciences tempt us to strip the reality away from many native-range qualities, including values, but discoveries in the biological sciences counterbalance this by finding sophisticated structures and selective processes in earthen nature. On the one hand, all human knowing and valuing contain subjective components, being theory-Iaden. On the other hand, in ordinary natural affairs, in scientific knowing, and in valuing, (...) we achieve some objective knowing of the world, agreeably with and mediated by the subjective coefficient. An ecological model of valuing is proposed, which is set in an evolutionary context. Natural value in its relation to consciousness is, examined as an epiphenomenon, an echo, an emergent, an entrance, and an education, with emphasis on the latter categories. An account of intrinsic and instrumental natural value is related both to natural objects, life fonns and land forms, and to experiencing subjects, extending the ecological model. Ethical imperatives follow from this redescription of natural value and the valuing process. (shrink)