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

The continuum between nature and artefact is occupied by objects and environments that embody a relationship between natural processes and human activity. In this paper, I explore the relationship that emerges through human interaction with the land in the generation and aesthetic appreciation of industrial farming in contrast to more traditional agricultural practices. I consider the concept of a dialectical relationship and develop it in order to characterise the distinctive synthesising activity of humans and nature which underlies cultivated environments. I (...) argue that a more harmonious relationship, and greater aesthetic value, may be located within traditional farming landscapes. This position is supported and illustrated through a discussion of two agricultural practices in the UK, hedge-laying and stonewalling. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...) how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (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)

The key role that animals play in our aesthetic appreciation of the natural world has only gradually been highlighted in discussions in environmental aesthetics. In this article I make use of the phenomenological notion of ‘perceptual sense’ as developed by Merleau-Ponty to argue that open-ended expressive-responsive movement is the primary aesthetic ground for our appreciation of animals. It is through their movement that the array of qualities we admire in animals are manifest qua animal qualities. Against functionalist and formalist accounts, (...) I defend and develop an account of expressive-responsive movement as the primary perceptual sense of animals. I go on to suggest that the primacy of movement in the aesthetic appreciation of animals is also the primary sense of animal ‘wildness’, and that a key part of the rewilding paradigm should be the development of such appreciation. (shrink)

Although recent work in philosophical aesthetics has brought welcome attention to the beauty of nature, the aesthetic appreciation of animals remains rarely discussed. The existence of this gap in aesthetic theory can be traced to certain ethical difficulties with aesthetically appreciating animals. These difficulties can be avoided by focusing on the aesthetic quality of “looking fit for function.” This approach to animal beauty can be defended against the view that “looking fit” is a non-aesthetic quality and against Edmund Burke’s famous (...) critique of the connection between fitness and the beauty of animals. (shrink)

This paper sympathetically examines the neglected virtue-centric idea that the primary location of beauty is in bodily expressions of human virtues, so that things like buildings are beautiful only because of an appropriate relationship they have to beautiful people. After a brief history of the idea as articulated by, for example, Kant, it is then distinguished from accounts of beauty with which it might be confused, such as the view that something is beautiful only if it helps to instil virtue. (...) In the central part of the paper, the attractions of virtue-centrism are articulated. These primarily consist in its explanatory power. It is argued, too, that virtue-centrism steers attractively between a rigidly conservative attitude towards beauty and an anything goes one. The final sections respond to some likely objections, the last of which provides an opportunity for correcting an impression that my formulation of the virtue-centrist idea might have given. CiteULike Connotea Del.icio.us What's this? (shrink)

This paper is about how we should evaluate our tendencies to find – or fail to find – different meanings in the natural world. It has three aims: (1) to show that some virtues and vices can be exhibited in our tendencies to find or to overlook the meanings of natural things, even if it is unclear whether any can only be exhibited in our relations with such things; (2) to categorise some of the relevant virtues and vices; and (3) (...) to refute the objection that meaning-focused approaches to environmental philosophy, of the sort adopted by writers such as Alan Holland and myself, cannot adequately account for nature's independence from human concerns. (shrink)

This article takes as its point of departure a small piece of evidence: a single-line entry in a seventeenth-century Essex Sessions Roll about the theft of milk. This fragment of the legal archive and the world it offers us a glimpse of are used to explore what it might mean to take seriously the presence of animals as historical actors. The article also—and inseparably—asks us to think about the nature of that being called the human that so frequently goes without (...) comment in historical scholarship. Using work from historiography, sensory history, social history, anthropology, and contemporary animal science, the article proposes that introducing animals as actors and not just as objects into historical work will not only broaden and deepen what we might know about the past, it will also challenge some assumptions as to what the focus of our discipline might be. (shrink)