Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

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)

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 (...) class='Hi'>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)

I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty (...) tends to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it’s a source of a more important anthropocentric value than has hitherto been acknowledged. (shrink)

Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and (...) not necessarily celebratory study of sensible experience, for it must now accommodate a complete range of negative as well as positive values. Th is paper develops an analysis of the multiple dimensions of environmental sensibility. (shrink)

The urgent need for solutions to critical environmental challenges is well attested, but often environmental problems are understood as fundamentally collective action problems. However, to solve to these problems, there is also a need to change individual behavior. Hence, there is a pressing need to inculcate in individuals the environmental virtues — virtues of character that relate to our environmental place in the world. We propose a way of meeting this need, by the judicious, safe, and (...) controlled administration of “classic” psychedelic drugs as a way to catalyze the development of environmental virtues – a form of moral bio-enhancement. Recent evidence shows that psychedelics can be given safely in controlled environments, and can induce vivid experiences of unity and connectedness. These experiences, in turn, can durably increase feelings of nature-relatedness and pro-environmental behaviors. Therefore, we argue that responsible psychedelic use can reliably catalyze the development of a key environmental virtue known as living in place. This is a “master environmental virtue” that subsumes the qualities of respect for nature, proper humility, and aesthetic wonder and awe. Our account advances the environmental virtues debate by introducing a relevant practical proposal, and advances the psychedelic moral enhancement debate by providing a much-needed conceptual framework. (shrink)

It is commonplace to call for the protection of environmental diversity. I develop an often overlooked reason for preserving diversity: we should preserve diversity in order to preserve the unusual. I show that we do in fact value the unusual, and that we should value the unusual. Recognizing the value of the unusual provides a foundation for valuing species not otherwise considered valuable.

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and (...) activities. I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

Aesthetics is a crucial ecosystem service provided by biodiversity, which is believed to help improve humans’ quality of life and is linked to environmental consciousness and pro-environmental behaviors. However, how aesthetic experience induced by plants/animals influences the belief in the occurrence and significance of biodiversity loss among urban residents remains understudied. Thus, the current study aimed to examine how the diversity of pets and in-house plants affect urban residents’ belief in biodiversity loss in different scenarios of aesthetic (...) experiences (positive and negative aesthetic experiences at home due to plants/animals). Using the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 535 Vietnamese urban residents, we found that the people’s aesthetic feeling about their house induced by plants/animals positively affects their belief in the occurrence and significance of biodiversity loss. The diversity of plants and pets also positively influences the level of biodiversity loss belief, but the effect is conditional on the aesthetic experience of the urban residents. Specifically, the positive impact of species diversity on the belief only exists when urban residents feel that their houses’ aesthetics are negatively affected by plants/animals. Moreover, the effect of pet diversity on biodiversity loss belief is less significant and reliable than that of plant diversity. These findings suggest that raising the houses’ aesthetics through in-house planting or pet ownership can potentially enhance biodiversity loss belief and subsequently build an eco-surplus culture among urban residents. (shrink)

This paper asks what should be the basis of a global environmental ethics. As Gao Shan has argued, the environmental ethics of Western philosophers such as Holmes Rolston and Paul Taylor is based on extending the notion of intrinsic value to that of objects of nature, and as such it is not very compatible with Chinese ethics. This is related to Gao’s rejection of most—if not all—Western “rationalist” environmental ethics, a stance that I grant her for pragmatic (...) reasons (though I remain neutral about it theoretically). Gao argues that the Daoist notion of living in harmony with nature can instead become the basis of a Chinese environmental ethics. However, the involved Daoist conception of living in harmony with nature is, in my view, based on an aesthetic property. The paper argues that despite the appeal of the Daoist view for a Chinese environmental ethics, an aesthetic property cannot provide the basis for a global environmental ethics. The paper also considers another version of Daoist environmental ethics, which does not rely on an aesthetic notion, but I argue that it too fails as such a candidate. As an alternative, the paper considers and applies contemporary Western thinkers on gratitude (such as Robert Emmons and Elizabeth Loder), proposing that gratitude to nature (environmental gratitude) can indeed provide the needed basis. (shrink)

The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying degree. Contemporary (...) urban environments comprise both lasting and fairly stable elements as well as those that change continuously: change is an inevitable part of urban life. Different aspects of city life evolve with a different tempo: urban nature has its cycles, inhabitants their rhythms, and building materials and styles different lifespans, for example. Recognizing them becomes an especially important issue when future imaginaries are projected onto existing urban structures and when decisions about the details of urban futures are made. This paper aims at bringing environmental and urban aesthetics into the discussion about the possible directions of urban futures. The focus is on introducing the notion of aesthetic sustainability as a tool to better understand how urban futures unfold experientially and how aesthetic values of urban environments develop with time. This concept has some background in the field of design theory, more specifically in sustainable usage and product design, but it has not so far been used in order to study large scale living environments. The concept can prove to be a valuable supporting tool in urban sustainability transformations based on how it captures the experiential side of the physical and temporal dimensions of cities. (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)

Feminist philosophy has taken too long to engage seriously with aesthetics and has been even slower in confronting natural beauty in particular. There are various possible reasons for this neglect, including the relative youth of feminist aesthetics, the possibility that feminist philosophy is not relevant to nature aesthetics, the claim that natural beauty is not a serious topic, hesitation among feminists to perpetuate women's associations with beauty and nature, and that the neglect may be merely apparent. Discussing (...) each of these possibilities affords a better understanding of, but none justify the neglect of natural beauty in feminist aesthetics. (shrink)

Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

This is a very positive review of Carlson, Allen, and Arnold Berleant, ed. 2004. The Aesthetics of Natural Environments. Broadview Press. -/- .

The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic (...) appreciation, according to which correctness means the adequation of the experi- ence to properties of the object. My aim in the article is to claim that it is necessary to endorse an aesthetic standard of correctness that takes into consideration the subjective character of aesthetic appreciation. An aesthetic standard of correct- ness implies universal assent, or validity for everyone in Kantian terms, in place of an objectivist notion. This notion of correctness permits the inclusion of expressive perception of nature as an essential form of aesthetic appreciation. (shrink)

I identify a commonly held position in environmental philosophy, “the received view,” and argue that its proponents beg the question when challenged to demonstrate the relevance of environmental aesthetics for environmental justice. I call this “the inference problem,” and I go on to argue that an alternative to the received view, Arnold Berleant’s participatory engagement model, is better equipped to meet the challenge it poses. By adopting an alternative metaphysics, the engagement model supplies a solution to (...) the inference problem and thereby provides a more useful theoretical framework for application to pressing concernsin environmental justice, such as the plight of the historical Ironbound District of Newark, New Jersey. (shrink)

One of the most intriguing – and arguably counter-intuitive – doctrines defended by environmental philosophers is that of positive aesthetics, the thesis that all of nature is beautiful. The doctrine has attained philosophical respectability only comparatively recently, thanks in no small part to the work of Allen Carlson, one of its foremost defenders. In this paper, we argue that the doctrine can be found much earlier in the work of Gottfried Wilhelm Leibniz who devised and defended a version (...) of positive aesthetics in the early modern period, grounded in a conception of the world as a world of monads, each of which individually fulfils the rationalist aesthetic criteria of multiplicity-in-unity and that taken together ensure that the world as a whole is a harmoniously ordered system of multiple and diverse individuals, whose intelligible order and variety is made known to us through natural scientific endeavour. In showing this, we advance two further theses: first, that Leibniz's vers.. (shrink)

A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.

As the title suggests, this collection addresses the very topical subject matter of environmental ethics by bringing together a host of unique voices. In the editor’s words, ‘[t]he essays collected here represent a joint effort in dealing with this problem [of global environmental conservation and protection]. All contributors to this volume agree that what we urgently need now is global awareness of the environmental crisis we are facing’ (9). While a thread of consensus weaves throughout, what is (...) more striking is the diverse and colorful tapestry of approaches these essays yield on a single theme. The first four essays articulate the ethical injunction to conserve and protect the natural environment in terms of various axiological and methodological commitments: normative, biocentric, aesthetic and empirical. In the final five essays, the thematic emphasis shifts ever so slightly. A plurality of perspectives on environmental conservation and protection emerges from different theological commitments, at times reflecting and at other times transcending individual—Christian/Western, Islamic/Middle Eastern, Buddhist/Eastern, and (in the final two essays) Daoist/Eastern—cultures. (shrink)

We live in an age in which outer space has changed from a theme for flights of science fiction to the actual locus of exploration and travel.1 Space no longer has merely speculative significance for thinking about possible worlds; it has become a real factor in understanding the nature and conditions of the human world that we are constantly refashioning. Our entry into outer space brings with it changes in conditions and experience that require us to rethink the concepts through (...) which we comprehend environment and act environmentally. (shrink)

In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...) worlds. This, then, is in part an essay in comparative aesthetics. Numerous examples of diverse artistic practices evoke our curiosity. Many of those I shall cite here are environmental and this is deliberate, for environments are a pervasive and powerful material embodiment of cultural practice and sensibility. They provide salient and inescapable evidence of this influence, and they bridge the distance sometimes assumed to lie, quite wrongly, in my opinion, between material culture and its artistic manifestations. (shrink)

In 1906, Henry Stephens Salt published a short collection of essays that presented several rhetorically powerful, if formally deficient arguments for the vegetarian position. By interpreting Salt as a moral sentimentalist with ties to Aristotelian virtue ethics, I propose that his aesthetic argument deserves contemporary consideration. First, I connect ethics and aesthetics with the Greek concepts of kalon and kalokagathia that depend equally on beauty and morality before presenting Salt’s assertion: slaughterhouses are disgusting, therefore they should not be promoted. (...) I suggest three areas of development since Salt’s death that could be fruitfully plumbed to rebuild this assertion into a contemporary argument: an updated analysis of factory farm conditions, insights from moral psychologists on the adaptive socio-biological benefits of disgust as a source of cognitive information, and hermeneutical considerations about the role of the audience that allow blameworthiness for slaughterhouse atrocities to be laid upon the meat-eater. (shrink)

The Human Eros is an outstanding accomplishment, a work of genuine wisdom. It combines meticulous scholarship with an enviable mastery of cultural and philosophical history to address pressing concerns of human beings, nature, and philosophy itself. While comprised of essays spanning over two decades, the book presents a powerfully coherent philosophical vision which Alexander names, alternately, “eco-ontology,” “humanistic naturalism,” and “ecological humanism.” Whatever the name, the approach is humane and intellectually compelling, offering insight and direction to pragmatism, aesthetics, existentialism, (...) environmental philosophy, and anyone in search of wisdom. It is an immensely readable book, too. (shrink)

This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...) prime considerations. The way beauty has been conceived has been influenced by an author’s other philosophical commitments, metaphysical, epistemological and ethical and such commitments reflect the historical and cultural position of the author. For example, beauty is a manifestation of the divine on earth to which we respond with love and adoration; beauty is a harmony of the soul which we achieve through cultivating feeling in a rational and tempered way; beauty is an idea raised in us by certain objective features of the world; beauty is a sentiment which can nonetheless be cultivated to be appropriate to its object; beauty is the object of a judgment by which we exercise the social, comparative and inter-subjective elements of cognition and so on. Such views on beauty not only reveal underlying philosophical commitments but also reflect positive contributions to understanding the nature of value and the relation of mind and world. One way to distinguish between beauty theories is according to the conception of the human being that they assume or imply, for example, where they fall on the continuum from determinism to free will, ungrounded notions of compatibilism notwithstanding. For example, theories at the latter end might carve out a sense of genuine innovation and creativity in human endeavours while at the other end of the spectrum authors may conceive of beauty as an environmental trigger for consumption, procreation or preservation in the interests of the individual. Treating beauty experiences as in some respect intentional, characterises beauty theory prior to the twentieth century and since, mainly in historically inspired writing on beauty. On the other hand, treating beauty as affect or sensation has always had its representatives and is most visible today in evolutionary inspired accounts of beauty (though not all evolutionary accounts fit this classification). Beauty theory falls under some combination of metaphysics, epistemology, meta-ethics, aesthetics and psychology. While in the twentieth century beauty was more likely to be conceived as an evaluative concept for art, recent philosophical interest in beauty can again be seen to exercise arguments pertaining to metaphysics, epistemology, meta-ethics, philosophy of meaning and language in addition to philosophy of art and environmental aesthetics. (shrink)

Some environmental views characterise the human abuse of nature as an offence against nature itself. What conception of nature would best fit that characterisation? To focus upon such a conception, aesthetic offences against nature are examined and distinguished at the outset from moral offences. Aesthetic offences are divided into those internal to our cultural outlook and external to it. The external outlook, conceiving nature as a thing wholly apart from us, is shown to be necessary to any view of (...) nature being offended against. Central to the external outlook is a conception of nature as the victim of offence without ever being itself an offending agent. Best fitting this is the notion of nature as primordially innocent. Given this metaphorical extension, the awkward consequence arises that any human use of nature constitutes thereby an abuse of it from the external standpoint. (shrink)

Excellence in sport performance is normally taken to be a matter of superior performance of physical movements or quantitative outcomes of movements. This paper considers whether a wider conception can be afforded by certain kinds of nature based sport. The interplay between technical skill and aesthetic experience in nature based sports is explored, and the extent to which it contributes to a distinction between different sport-based approaches to natural environments. The potential for aesthetic appreciation of environmental engagement is found (...) to be strongly dependent on whether or not environmental engagement is exploited for the end of producing a quantifiable result or enhancing technical skill. It is also argued that an existential rather than spectatorial attitude to aesthetic experience is offered by specifically nature oriented sport. Aesthetic experience achieved in this way is therefore neither passive nor detached, but extends Berleant's concept of participatory environmental aesthetics and underpins both an alternate (wide) conception of excellence in sport activity and a richer experience of aesthetic engagement than more objectivised standpoints. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential (...) tools for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

In recent years, an increasing number of contemporary artists have incorporated live animals into their work. Although this development has attracted a great deal of attention in the artworld and among animal rights activists, it has not been much discussed in the philosophy of art—which is quite remarkable, given the serious ethical and artistic questions that these artworks prompt. I focus on answering two such questions. First, is the use of animals in these artworks ethically objectionable? Or are such artworks (...) instead morally permissible or even laudable? Second, what might be the distinctive value or good of incorporating animals into artworks in this way? In response to both questions, I argue that one distinctive value of some of the artworks I discuss is their ability to facilitate a relationship of moral concern and respect on the part of an audience toward the animals that are a part of the artwork. Insofar as artworks facilitate such relationships, they are not simply artistically important; they are also, to that extent, morally good. (shrink)

The aesthetic construction of the world can originally be traced back to the bodily-affective state of being in the surroundings. In this respect, the newly developed aesthetic concept atmosphere enables a new understanding of the interaction between sensation, emotion and the environment, and is therefore of great importance for the development of a contemporary environmental awareness. In reviewing the studies so far, it would be meaningful to further reflect on the following questions: what role does the spiritual dimension play (...) in atmospheric experience? How is it possible for us to be critical of the atmosphere we encounter? How can a bodily-affective approach to the world be opened up by emphasizing atmospheric experience without excluding other legitimate aspects such as value judgments? These issues require re-examination of the current basic approach, according to which, on the one hand, atmospheric experience is largely confined to a pre-reflective level, and, on the other hand, sensation and awareness of atmosphere are viewed as occurring one after another. Practically, in the experience of atmosphere, corporeality and spirituality are not so clearly delineated, based on the fact that sensory recognition of external stimuli always merges with mental actions such as cognition, imagination, beliefs, values, memory and expectation. In this sense, the experience of atmosphere is not a purely biophysiological response at all. Instead, it is largely shaped by spiritual elements and cultural frameworks. The knowledge of traditions, customs, languages, religions, stories, folklore and/or mythology may modify the ordinary perception of things and thus open an unusual way to the atmosphere. The complexity of atmosphere and atmospheric perception reveals a diversity of life experience that can never be thoroughly represented and described, and thus largely opens up new horizons for an interculturally oriented aesthetics. (shrink)

In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism. Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven (...) through contemporary art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold. (shrink)

Despite its aesthetic appeal, the Iranian resort Majara is poised to be a sore point among local residents. Looking at the 200 vibrant oddly-shaped domes might make you feel you’re on a Wes Anderson movie set.The Majara Residence overlooking the Persian Gulf offers homes and resort-like accommodation, complete with cafes, restaurants, souvenir shops, tourist information, a prayer room, laundry, storage and more. Located at Hormuz (or Ormuz) Island, a historic port off the southern coast of Iran, the project is designed (...) to attract tourists to the small island and serve as an alternative to high-rise developments traditionally used to house visitors. Presence in Hormuz 2 is a series of urban development projects designed by the Tehran-based ZAV Architects. Majara (which means adventure) is the second phase of this multipurpose cultural residence, aimed at binding together the lives of local people and visitors culturally and economically. On the verge of opening, this project has been heavily criticised by environmental activists and urban experts citing ecological, economic, cultural and social concerns. Such projects have made locals mere servants in service of investors, which impedes the enhancement of their quality of life. (shrink)

Environmental studies is a highly interdisciplinary field of inquiry, involving philosophers, ecologists, biologists, sociologists, activists, historians and professionals in public and private environmental organizations. It comes with no surprise, then, that the follow-up to Nelson and Callicott’s original anthology The Great Wilderness Debate (1998) features essays from authors in a broad array of disciplines. While there is considerable overlap between the two volumes, this new version offers forty-one essays, five of which are new additions, organized into four sections. (...) What constitutes wilderness? Is wilderness real or social constructed? What kinds of values are served—recreational, aesthetic, scientific, or others—by protecting wild areas? While many commentators trace these questions back to an exchange in the 1990s between two environmental ethicists, J. Baird Callicott and Holmes Rolston III, the debate over the wilderness idea actually has older roots. At least in the U.S. context, it travels back in time to the earliest part of the twentieth-century, when the American public, politicians and ecologists were pressed to justify why wilderness areas should be set aside in a new National Park system. Since then, the fundamental question fuelling the ‘Great Wilderness Debate’ is whether what is being preserved is actually wilderness. Is there such a thing or place as wilderness, that is, a quintessentially non-human or wild setting untainted by human influence? If so, why do we believe such areas deserve protection? (shrink)

Effective stakeholder engagement and inclusive governance are essential for effective and equitable ocean management. However, few cross-national studies have been conducted to examine how stakeholders’ economic and cultural benefit perceptions influence their support level for policies focused on ocean preservation. The current study aims to fill this gap by employing the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 709 stakeholders from 42 countries, a part of the MaCoBioS project funded by the European Commission H2020. We found that economic (...) and cultural benefit perceptions are generally negatively associated with the policy support level. Regarding economic aspects, stakeholders considering transportation and shipping, renewable energy generation, and oil and gas provision as the most crucial benefits their countries’ oceans provide tend to obtain less support for policies focusing on ocean preservation. Meanwhile, for cultural aspects, perceiving recreation and tourism, aesthetic pleasure, mental health and well-being support, and sense of identity provision as the most important benefits provided by the country’s ocean are negatively associated with the policy support level. The perceived economic, cultural, and environmental tradeoffs when supporting policies focused on ocean preservation were discussed. Recommendations for improving the effective management of multi-use marine space are also provided to reduce the perceived competing interests among stakeholders. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and philosophy (...) will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

Along with environmental pollutions, urban planning has been connected to public health. The research indicates that the quality of built environments plays an important role in reducing mental disorders and overall health. The structure and shape of the city are considered as one of the factors influencing happiness and health in urban communities and the type of the daily activities of citizens. The aim of this study was to promote physical activity in the main structure of the city via (...) urban design in a way that the main form and morphology of the city can encourage citizens to move around and have physical activity within the city. Functional, physical, cultural- social, and perceptual-visual features are regarded as the most important and effective criteria in increasing physical activities in urban spaces based on literature review. The environmental quality of urban spaces and their role in the physical activities of citizens in urban spaces were assessed by using the questionnaire tool and analytical network process (ANP) of structural equation modeling. Further, the space syntax method was utilized to evaluate the role of the spatial integration of urban spaces on improving physical activities. Based on the results, the consideration of functional diversity, spatial flexibility and integration, security, and the aesthetic and visual quality of urban spaces plays an important role in improving the physical health of citizens in urban spaces. Further, more physical activities, including motivation for walking and consequently, the sense of public health and happiness, were observed in the streets having higher linkage and space syntax indexes with their surrounding texture. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Naess and Sessions “Deep Ecology Platform” provided a loose framework for a movement that was gaining momentum after a series of successful social and political actions and events throughout the 1970s and early 1980s. Most of the points are essentially adopted from Naess’ earlier work, which provided the basis for a number of the core concepts expressed in the later eight points and is largely an expression of a movement that sought to create a shift in consciousness of society towards (...) the natural world. It is probably better understood as a lose framework that encapsulates a world view and perspective of nature which is better understood as an aesthetic movement rather than a moral or ethical movement. (shrink)

Nature-based solutions (NbS) have in recent years occupied a central position in conservation and climate discussions among both scientists and policy makers. NbS generally refer to a set of strategies which use nature, or natural objects, to address societal (human) issues while simultaneously supporting the broader environment. This paper examines the concept of NbS to determine whether it is a useful and well-motivated category to guide future climate and conservation efforts. I argue that NbS may in fact be a valuable (...) contribution to environmental thought and policy, but not for the reasons that they are typically thought to be. Specifically: while we have reason to doubt that NbS should be prioritized over other environmental strategies on the grounds that they are uniquely environmentally-friendly or supportive of biodiversity, they may nevertheless have an advantage insofar as they play a vital aesthetic role in developing a healthier relationship between humans and the nonhuman world. (shrink)

Value claims about ecological entities, their functionality, and properties take center stage in so-called “ecological” ethical and aesthetic theories. For example, the claim that the biodiversity in an old-growth forest imbues it with “value in and for itself” is an explicit value claim about an ecological property. And the claim that one can study “the aesthetics of nature, including natural objects...such as ecosystems” presupposes that natural instances of a type of ecological entity exist and can be regarded as more (...) or less aesthetically valuable. My discussion below will bear wide implications for how claims like... (shrink)

While language use in general is currently being explored as essentially situated in immediate physical environment, narrative reading is primarily regarded as a means of decoupling one’s consciousness from the environment. In order to offer a more diversified view of narrative reading, the article distinguishes between three different roles the environment can play in the reading experience. Next to the traditional notion that environmental stimuli disrupt attention, the article proposes that they can also serve as a prop for mental (...) imagery and/or a locus of pleasure more generally. The latter two perspectives presuppose a more clear-cut distinction between consciousness and attention than typically assumed in the communication literature. The article concludes with a list of implications for research and practice. (shrink)

What is the normative significance of school gardening for environmental activism and activists today? Philosophical treatments generally highlight gardening's importance for human well-being, aesthetic theory, and urban landscape design. Several accounts of John Dewey's educational philosophy draw attention to the school gardens tended by students at the University of Chicago's Experimental School. However, these typically neglect the social and political significance of Dewey's writings on school gardening. One way to bring the normative dimension of school gardening to the fore (...) is to compare Dewey's work on the topic with more recent scholarship on the politics of gardening movements. In this paper, the object of comparison is an essay by the Community Studies scholar Mary Beth Pudup. While Pudup's and Dewey's approaches are not identical, the comparison proves fruitful in so far as it exposes the political reasons for gardening education, relates school gardening to contemporary gardening movements and gives the call for creating more school garden projects greater normative force—or so I argue. (shrink)

The article analyzes the significance of situated knowledges for going beyond dominating conceptual dichotomies that a) establish status quo dialectics, b) proliferate homogenization of the Global Northern experienced materialities, and c) conceal and suppress alternate affectual body-environment experiences and materializations. With the example of postsocialist ontogenealogies, the article analyzes the potential blind spots when failing to consider both sides of a status quo dialectic in their interconnectedness. To conclude, the article suggests the potential of situated knowledges as a vehicle for (...) future environmental ethicalities. (shrink)

This paper determines the relation between philosophy and anthropology. It further shows the intimate correspondence on the basis of metaphysics, ethics, epistemology, language, culture and environment. This paper examines the evolution of anthropology with respect to history of philosophy which includes; Ancient Greek, Medieval and Modern philosophy. In this write up I assume to show that how philosophers have interpreted the subject matter anthropology. Since anthropology is the study of humans and what this science acquires has been explained and clarified (...) in the science of philosophy, whether it is a metaphysical study of human person, his ethical, aesthetic, rational, environmental, physical and psychological investigations. This paper exhibits the role and dimensions of humans within the scope of time, space, environment, existence and language. (shrink)

Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is 'embodied' and depends on the aforementioned concepts' interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and (...) juxtaposes it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than 'smart' efficiency. (shrink)

Beginning with the work of Olafur Eliasson, with particular reference to the recent exhibition “Trembling Horizons” but not limited to it, a number of works representative of an artistic vision that might be called eco-logical are analyzed. Not only by explicitly thematizing the issue of the environmental crisis, Eliasson's works seem to materially express the demands of theorists who question how art can actively respond to the need for a shift in outlook that characterizes current events. Starting from the (...) idea of art as praxis, which allows the viewer to regard himself or herself and to place himself or herself in relation to what surrounds us – human and non-human – Eliasson's works act on the intrinsic objecthood of the work itself by creating a relationship with otherness and datity. They generate, therefore, a feeling of proximity, which concretizes a meaning of creativity in a transformative and site-specific sense; they promote an eco-logic that has its basis in a nomadic and depotentiated vision of subjectivity, engendering a feeling of interconnectedness and care. It will be argued in this paper the need to rethink art in these terms by hypothesizing a particular efficacy of some works that actively work in public space: places where the split between nature and culture has taken place, urban and public space are privileged contexts to actively promote the overcoming of this fracture and generate ethically responsible, already intrinsically ecological subjects. (shrink)

The nature of learning processes as well as evolutionary considerations suggest that aesthetic judgement is of central importance in the formation of custom. Learning and extrapolation rely on evaluations of non-instrumental features like simplicity, analogy, straightforwardness, and clarity. Further, learning is particularly effective if it is driven by an active desire to uncover new regularities, rather than merely gathering information in a passive way.From an evolutionary perspective, learning has evolved as an adaptation to fast and transitory environmental changes which (...) cannot be effectively traced by the slow and long-term evolutionary processes which take place on the genetic level. The evolutionary raison d’être of learning is to enable the individual to incessantly search for upcoming new regularities, and to act appropriately on them. As learning depends on aesthetic judgement, the evolutionary selection for learning implies an evolutionary molding of an aesthetic sense, and a preference for patterns and patterned action which ultimately leads to the formation of custom and social learning. The paper presents, thus, an evolutionary underpinning for the behavioral tendencies underlying my theory of custom. (shrink)

How can humanist principles of respect, dignity, and care inform and improve design for non-human lifeforms? This paper uses ageing and dying urban trees to understand how architectural, urban, and landscape design respond to nonhuman concerns. It draws on research in plant sciences, environmental history, ethics, environmental management, and urban design to ask: how can more-than-human ethics improve multispecies cohabitation in urban forests? The paper hypothesises that concepts of dignity and respect can underline the capabilities of nonhuman lifeforms (...) and lead to improved designs for multispecies cohabitation. To investigate the implications of this ethical framework, we 1) indicate injustices of current management in relation to natural and cultural histories of trees; 2) outline a conceptual framework that includes large old trees as stakeholders in urban communities; and 3) use this framework in a thought experiment with urban trees in Melbourne, outlining comparative design outcomes. Our findings show that the expansion of dignity to include nonhuman life is possible and plausible. Such an extension can justify and encourage design innovation for multiple species and sites. The resulting design practices will lead to improvements by supporting communities of trees at all stages of their life-cycles, including old age, death, and rebirth. This approach requires substantial shifts in accepted thinking and practices including history, ethics, aesthetics, regulation, and education. Design can play a significant role in the necessary transitions by demonstrating tangible and positive outcomes. In this context, history emerges as an essential tool that can extend societal imagination by situating possible future places in the context of ancient and ongoing geological, evolutionary, ecological, and cultural processes. (shrink)

What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...) art without any artefact at all? In the late '50sand early'60s in Paris, Andy Warhol and Yves Klein claimin different butvery similar ways the end of painting and the disappearing of the work of art from the exposition site and its becoming immaterial or environmental art, indiscernible within its surrounding living space and, finally, with the atmosphere of glamour and snobbish artist’s life. What kind of phenomenology, pragmatic, rhetoric, poetics, economy and ontology is possible when nospectatorialmode of visual consumption is any longer possible? What type of aesthetic relationship actually happens under these planned and produced conditions of non-perceptual and ‘artialized’ living experience? After more than fifty years, the statements of The philosophy of Andy Warhol and the Exposition of void of Yves Klein have not yet stopped to pose questions as such to aesthetics, theory of literature and critics, and to the history of art. (shrink)

The focus of the study is on the values, priorities and arguments needed to advance ‘design for sustainability’. The discussion critiques conventions related to innovation and technology and offers a product design approach that emphasises minimal intervention, integrated thinking-and-doing, reinstating the familiar, localization and the particularities of place. These interdependent themes are discussed in terms of their relationship to design for sustainability and are clarified through the conceptualization, design, production and use of a simple functional object that is, essentially, a (...) ‘symbolic sustainable artefact’. Although it is fully functional, its practical usefulness in contemporary society would probably be seen as marginal. Its potential contribution is as a symbol of an alternative direction. It asks us to consider aspects of our humanity that are beyond instrumental approaches. It challenges sustainable initiatives that become so caught up in practical and environmental concerns that they fail to question the underlying values, priorities and social drivers which affect how we act in the world; those behaviours and norms that have created the very problems we are so urgently trying to tackle. The discussion is accompanied by a parallel series of photographs that document the relationship between argument, locale and the creation of the conceptual artefact. These photographs convey some of the qualitative differences between the place of much contemporary arte- fact acquisition, i.e. the shopping mall, and the particular locale that yielded the artefact created during this study; they are also useful in conveying the potential relationship that exist between place and the aesthetics of functional objects. (shrink)