"[..] flowing with the waters, halting with the mountains. In the images of light and wind the ephemeral is inscribed. Time is part of space. The scene performs." -/- The essay "Chinese Landscape Aesthetics: the exchange and nurturing of emotions" by Claudia Westermann included in "New Horizons: Eight Perspectives on Chinese Landscape Architecture Today" introduces ideas of landscape in traditional Chinese thought. Following the etymology of the Chinese terms for landscape and recognizing that their conceptual (...) focus is on the exchange and nurturing of emotions, which is not captured by the English term 'landscape,' one may gain a new understanding of contemporary works of Chinese landscape architecture. (shrink)

This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation (...) of a person in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this (...) sense has quite a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and (...) phusis and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (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)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...) art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God's creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science. (shrink)

The paper is meant to introduce a symposium on aesthetics in Hungary today. Through a brief survey of the Hungarian aesthetic tradition, which goes back to the eclectic “university aesthetics” of the late 18 th century and produced a number of prominent figures such as Georg Lukács and his disciples in the “Budapest School” in the 20th century, the paper seeks to point out some key characteristics of this tradition and to reflect on the intellectual landscape of (...) contemporary aesthetics in Hungary, diversified by many fields of study, methods and subdisciplines. (shrink)

Art is one thing, the aesthetic another. Things can be appreciated aesthetically – for instance, in terms of the traditional category of the beautiful – without being works of art. A landscape can be appreciated as beautiful; so can a man or a woman. Appreciation of such natural objects in terms of their beauty certainly counts as aesthetic appreciation, if anything does. This is not simply because landscapes and people are not artefacts; for there are also artefacts which are (...) assessable aesthetically without being works of art (e.g. an elegant car or a mathematical proof)... (shrink)

It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the (...) last of these, environment. (shrink)

Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they (...) are distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

In Games: Agency as Art, Thi Nguyen has given us a deep and compelling picture of agency as much more layered, volatile, environment-dependent and discontinuous than it appears in most philosophical accounts. Games ‘inscribe … forms of agency into artifactual vessels’.1 1 When we play a game, we take up a form of agency, including a set of motivations, values and goals, which has been artificially provided by the game. Our purpose in playing, in the kinds of gameplay that interest (...) Nguyen, is to have the aesthetic experience of first-personally exercising the kind of agency sculpted by the game. As we move in and out of gameplay, we take up and drop values, motives, and goals that are provided to us by the game. Games can expand our autonomy and the richness of life by allowing us to practice different forms of agency, taking on different ends for the aesthetic experience of striving to meet them. While I am on board with these central moves of Nguyen’s book, in this essay I will argue that the situation is substantially messier than Nguyen portrays it as being. Game play, I will claim, is inextricably embedded and entangled in its larger social, material and cultural context. Conversely, I will argue, everyday life is routinely sculpted in ways Nguyen claims are distinctive of games. (shrink)

In this thesis, I explore themes and concerns that have arisen in my art practice, namely the relationship between landscape, monstrosity, and subjectivity. The tropes scar and form refer to features analogous in the subject and in the land which take on different specific meanings throughout the project, but in general terms, I relate them to trauma as a defining force. I suggest that monsters can be understood as embodying attitudes to time (a cause of trauma): those being fixity, (...) which is resistant to temporality; and flux, which embraces temporality. Consequently, I define these categories and their opposition, presenting arguments for both monsters of fixity and flux monsters. I examine the construction of false universals of ‘England’ (categories of fixity) in representations of landscape and how they come to dominate the picturing of Britain more generally, alongside a mode I refer to as dynamic-fatalism, which examines the polemics and aesthetics of Wyndham Lewis (1882-1957). In this regard, I look at Lewis’s monstrous Tyro and its role in eliciting dehumanisation as a defining value in conceptions of a stratified society. Emphasis on creative practices and representations related to England serve to dissolve ‘proto-fascistic’ fantasies of a heroic, mono-cultural, and pure base for nation, dependent on categories of fixity. I suggest these values are instead understood as patrician, sexist, class-based, and racially biased. Given that landscape constructions are constitutive of our engagement with landscape, I conclude with a proposal for better ‘analogues’ of nature in the form of virescent space (a category of flux). I argue that virescent space is a phenomenon that sees the monster take on a specific role concerning the subject, one I define in relation to a wilderness destination in the poem Sir Gawain and the Green Knight (c.1370). (shrink)

Recent academic fashions have posited visual images of colonial landscape space as forming part of a network of intellectual influences that promoted both a culture of imperialism and an imperial culture in the nineteenth century. Frequently these analyses concentrate on constructing an overarching socio-political interpretation into which to place this art, thereby ignoring the influence of artistic and aesthetic theory in the creation, assessment and reception of these images.

In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection (...) on parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. (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)

In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection on (...) parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. (shrink)

Landscape Agency New York was founded by Gavin Keeney, c.1997, and encompassed a wide array of activities and effects – e.g., research, writing, design, consulting, and teaching. /S/OMA (Syntactical Operations Metaphorical Affects) was the mobile, and sometimes global design and teaching module within LANY, focusing primarily on entirely hypothetical and/or irreal projects, many becoming the foundation for lectures and courses delivered at institutions in the US, Canada, Australia, and Europe, from 2003 to 2007. Lastly, the LANY Archive-Grotto was established (...) following publication of On the Nature of Things: Contemporary American Landscape Architecture (Birkhauser, 2001), primarily as a means of escaping the then-formulaic production of texts common to Landscape Architecture and Architecture. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed on (...) their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers critical (...) insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

This article focuses on the apparently paradoxical remarks of Novalis on landscape, which followed the famous “Romantikertreffen” of August 1798: that decisive meeting of the “early German romantics” on the occasion of a communal visit to the painting and sculpture galleries in Dresden. We analyze how Novalis surpasses the phenomenological conception of landscape painting proposed by August Wilhelm Schlegel by resorting to the "incorrect" categories of sculpture and haptic sense to talk about the feeling for nature that governs (...) landscape painting. This is the aesthetics of Herder – his reflections in the treatise “Sculpture” (1778) on the actual concrete and tangible force of the beautiful and the central importance it accords to the experience of one’s own body (a highly modern conception) – which is diverted here in a typical Novalisian gesture that we will show is consistent with his philosophy. The reception of Herder has contributed to the development in Novalis of a Pygmalionic aesthetics of contact with things that casts a different light on early romanticism: it is not only the exclusive exercise of a critical reflexivity that assumes distance, but also of a sensibility that seeks a tactile meeting point as it were between what is separated. (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)

The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a particular (...) innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

Cet ouvrage oriente la réflexion philosophique sur le romantisme allemand dans une voie nouvelle ayant pour point de départ la singularité des paysages peints par Caspar David Friedrich, et pour concept opératoire majeur la romantisation du monde, dont Novalis a fait le programme d’une philosophie spécifique. Analyser la critique par Hegel du style de Friedrich ; étudier l’invention par Novalis, dans le prolongement de Herder, de quelque chose comme un paysage-corps ; suivre au-delà de Kant le destin du concept de (...) sublime : tels sont les moments principaux d’un parcours qui permet de mettre au jour les liens existant entre la peinture de Friedrich et la problématique de la « révélation » énoncée par Novalis dans ses fragments sur la philosophie romantique. (shrink)

[from the publisher's website] Questions about the existence and attributes of God form the subject matter of natural theology, which seeks to gain knowledge of the divine by relying on reason and experience of the world. Arguments in natural theology rely largely on intuitions and inferences that seem natural to us, occurring spontaneously—at the sight of a beautiful landscape, perhaps, or in wonderment at the complexity of the cosmos—even to a nonphilosopher. In this book, Helen De Cruz and Johan (...) De Smedt examine the cognitive origins of arguments in natural theology. They find that although natural theological arguments can be very sophisticated, they are rooted in everyday intuitions about purpose, causation, agency, and morality. Using evidence and theories from disciplines including the cognitive science of religion, evolutionary ethics, evolutionary aesthetics, and the cognitive science of testimony, they show that these intuitions emerge early in development and are a stable part of human cognition. -/- De Cruz and De Smedt analyze the cognitive underpinnings of five well-known arguments for the existence of God: the argument from design, the cosmological argument, the moral argument, the argument from beauty, and the argument from miracles. Finally, they consider whether the cognitive origins of these natural theological arguments should affect their rationality. (shrink)

Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying (...) unifying ideas. Jeff Koons qualifies as an artist not because of his production of standalone objects, but because behind these objects is a distinctive and unusual mentality and mindset which gives meaning to them. This is where the art of Jeff Koons is to be located. His work is contrasted with that of Andy Warhol and Damien Hirst, in order to further illustrate and clarify the conception of art employed in this study. (shrink)

Sensibility, in any of its myriad realms – moral, physical, aesthetic, medical and so on – seems to be a paramount case of a higher-level, intentional property, not a basic property. Diderot famously made the bold and attributive move of postulating that matter itself senses, or that sensibility (perhaps better translated ‘sensitivity’ here) is a general or universal property of matter, even if he at times took a step back from this claim and called it a “supposition.” Crucially, sensibility is (...) here playing the role of a ‘booster’: it enables materialism to provide a full and rich account of the phenomena of conscious, sentient life, contrary to what its opponents hold: for if matter can sense, and sensibility is not a merely mechanical process, then the loftiest cognitive plateaus are accessible to materialist analysis, or at least belong to one and the same world as the rest of matter. This was noted by the astute anti-materialist critic, the Abbé Lelarge de Lignac, who, in his 1751 Lettres à un Amériquain, criticized Buffon for “granting to the body [la machine, a common term for the body at the time] a quality which is essential to minds, namely sensibility.” This view, here attributed to Buffon and definitely held by Diderot, was comparatively rare. If we look for the sources of this concept, the most notable ones are physiological and medical treatises by prominent figures such as Robert Whytt, Albrecht von Haller and the Montpellier vitalist Théophile de Bordeu. We then have, or so I shall try to sketch out, an intellectual landscape in which new – or newly articulated – properties such as irritability and sensibility are presented either as an experimental property of muscle fibers, that can be understood mechanistically (Hallerian irritability, as studied recently by Hubert Steinke and Dominique Boury) or a property of matter itself (whether specifically living matter as in Bordeu and his fellow montpelliérains Ménuret and Fouquet, or matter in general, as in Diderot). I am by no means convinced that it is one and the same ‘sensibility’ that is at issue in debates between these figures (as when Bordeu attacks Haller’s distinction between irritability and sensibility and claims that ‘his own’ property of sensibility is both more correct and more fundamental in organic beings), but I am interested in mapping out a topography of the problem of sensibility as property of matter or as vital force in mid-eighteenth-century debates – not an exhaustive cartography of all possible positions or theories, but an attempt to understand the ‘triangulation’ of three views: a vitalist view in which sensibility is fundamental, matching up with a conception of the organism as the sum of parts conceived as little lives (Bordeu et al.); a mechanist, or ‘enhanced mechanist’ view in which one can work upwards, step by step from the basic property of irritability to the higher-level property of sensibility (Haller); and, more eclectic, a materialist view which seeks to combine the mechanistic, componential rigour and explanatory power of the Hallerian approach, with the monistic and metaphysically explosive potential of the vitalist approach (Diderot). It is my hope that examining Diderot in the context of this triangulated topography of sensibility as property sheds light on his famous proclamation regarding sensibility as a universal property of matter. (shrink)

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...) Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)

[Updated 2/23/21: complete chapter scan] In this chapter I sketch a rightist approach to monumentary policy in a diverse polity beleaguered by old ethnic grievances. I begin by noting the importance of tribalism, memorialization, and social trust. I then suggest a policy which 1) gradually narrows the gap between peoples in the heritage landscape, 2) conserves all but the most offensive of the least beloved racist monuments, 3) avoids recrimination (i.e., “keeps it positive”) and eschews ideological commentary in new (...) monuments or revisions to old ones, 4) as much as politically feasible, recognizes only the offense of willing tribemates, and 5) responds to aesthetic and other “irrational” offenses more than to “objective” historical or philosophical critiques. (shrink)

Are the methods of synthetic biology capable of recreating authentic living members of an extinct species? An analogy with the restoration of destroyed natural landscapes suggests not. The restored version of a natural landscape will typically lack much of the aesthetic value of the original landscape because of the different historical processes that created it—processes that involved human intentions and actions, rather than natural forces acting over millennia. By the same token, it would appear that synthetically recreated versions (...) of extinct natural organisms will also be less aesthetically valuable than the originals; that they will be, in some strong sense, ‘inauthentic’, because of their peculiar history and mode of origin. I call this the ‘genesis argument’ against de-extinction. In this article I critically evaluate the genesis argument. I highlight an important disanalogy between living organisms and natural landscapes: viz., it is of the essence of the former, but not of the latter, to regularly reproduce and die. The process of iterated natural reproduction that sustains the continued existence of a species through time obviously does not undermine the authenticity of the species. I argue that the authenticity of a species will likewise be left intact by the kind of artificial copying of genes and traits that a de-extinction project entails. I conclude on this basis that the genesis argument is unsound. (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)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...) classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)

This paper involves constructive exegesis. I consider the contrast between morality and art as sketched in Philippa Foot's 1972 paper of the same name, ‘Morality and Art’. I then consider how her views might have shifted against the background of the conceptual landscape afforded by Natural Goodness, though the topic of the relation of art and morality is not explicitly explored in that work. The method is to set out some textual fragments from Natural Goodness that can be arranged (...) for a tentative Footian ‘aesthetics’. I bring them into conversation with some ideas from Iris Murdoch to elucidate what I think the import may be, for Foot, of depicting human form. (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)

Receptive Spirit develops the thesis that the notion of self-induced mental activity at the heart of German idealism necessitated a radical rethinking of humans’ dependence on culturally transmitted models of thought, evaluation, and creativity. The chapters of the book examine paradigmatic attempts undertaken by German idealist thinkers to reconcile spontaneous mental activity with receptivity to culturally transmitted models. The book maps the ramifications of this problematic in Kant’s theory of aesthetic experience, Fichte’s and Hegel’s views on the historical character of (...) philosophy, the Fichtean model of philosophical communication, and Friedrich Schlegel’s theory and practice of literary communication and criticism. Drawing on Gadamer and McDowell, I argue that the conceptual framework established by the Idealists remains indispensable for orientation in the contemporary intellectual landscape. (See the PDF file below for a synopsis). (shrink)

Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be (...) defined as a notion of experience and knowledge. Thus the notion of an image gets a new understanding: it can be described as an "energetic system". (shrink)

The constant changes in the landscape caused mainly by the urban expansion process, have led to the destruction, fragmentation and isolation of natural habitats, with consequent damage to biodiversity. Recognized as potential "refuges" for biodiversity, urban areas have received great attention to the conservation of animals in addition to exercising functions of aesthetic and recreational. In this context, urban vegetation receives different nomenclatures are used interchangeably as synonyms, when in reality, in many cases, are not. In order to highlight (...) the importance of these areas, this paper then seeks to present definitions of "Urban Fragment", "Green Areas" and "Remaining Fragment" in addition to performing a detailed comparative analysis of studies from an urban green area of the city Juiz de Fora, Minas Gerais, Brazil with work in protected areas. (shrink)

This thesis articulates the resonances between J. M. Coetzee's lifelong engagement with mathematics and his practice as a novelist, critic, and poet. Though the critical discourse surrounding Coetzee's literary work continues to flourish, and though the basic details of his background in mathematics are now widely acknowledged, his inheritance from that background has not yet been the subject of a comprehensive and mathematically- literate account. In providing such an account, I propose that these two strands of his intellectual trajectory not (...) only developed in parallel, but together engendered several of the characteristic qualities of his finest work. The structure of the thesis is essentially thematic, but is also broadly chronological. Chapter 1 focuses on Coetzee's poetry, charting the increasing involvement of mathematical concepts and methods in his practice and poetics between 1958 and 1979. Chapter 2 situates his master's thesis alongside archival materials from the early stages of his academic career, and thus traces the development of his philosophical interest in the migration of quantificatory metaphors into other conceptual domains. Concentrating on his doctoral thesis and a series of contemporaneous reviews, essays, and lecture notes, Chapter 3 details the calculated ambivalence with which he therein articulates, adopts, and challenges various statistical methods designed to disclose objective truth. Chapter 4 explores the thematisation of several mathematical concepts in Dusklands and In the Heart of the Country. Chapter Five considers Waiting for the Barbarians and Foe in the context provided by Coetzee's interest in the attempts of Isaac Newton to bridge the gap between natural language and the supposedly transparent language of mathematics. Finally, Chapter 6 locates in Elizabeth Costello and Diary of a Bad Year a cognitive approach to the use of mathematical concepts in ethics, politics, and aesthetics, and, by analogy, a central aspect of the challenge Coetzee's late fiction poses to the contemporary literary landscape. (shrink)

The paper reviews a book by Massimo Modica dedicated to Denis Diderot's 'Salons' and in particular to Denis Diderot's statements about painter Claude-Josef Vernet and his "Promenade" (XVIII Century).

This article examines two questions about scientists’ search for knowledge. First, which search strategies generate discoveries effectively? Second, is it advantageous to diversify search strategies? We argue pace Weisberg and Muldoon, “Epistemic Landscapes and the Division of Cognitive Labor”, that, on the first question, a search strategy that deliberately seeks novel research approaches need not be optimal. On the second question, we argue they have not shown epistemic reasons exist for the division of cognitive labor, identifying the errors that led (...) to their conclusions. Furthermore, we generalize the epistemic landscape model, showing that one should be skeptical about the benefits of social learning in epistemically complex environments. (shrink)

Swear words are highly colloquial expressions that have the capacity to signal the speaker's affective states, i.e., to display the speaker's feelings with respect to a certain stimulus. For this reason, swear words are often called 'expressives'. Which linguistic mechanisms allow swear words display affective states, and, more importantly, how can such 'affective content' be characterized in a theory of meaning? Even though research on expressive meaning has produced models that integrate the affective aspects of swear words in a compositional (...) framework, there is extensive evidence that swear words cannot be assigned a single or stable affective interpretation across contexts. For example, even though expletive adjectives (e.g., 'damn'), particularistic insults (e.g., 'bastard') and slurs (e.g., 'wop') typically express (and elicit) negatively valenced affective states, they can also be interpreted positively in some contexts. Thus, inspired in recent developments in formal sociolinguistics, I propose an 'indexical' approach to affective meaning. Under this approach, an affective expression is associated with a set of affective qualities, anyone of which may emerge at a given context depending on the interpreter's prior assumptions about the speaker's affective states and/or relation with the target of the swear word. To define this set, also called 'indexical field', I will use the dimensions pleasure, arousal and dominance, standardly employed in cognitive psychology to characterize and measure affective episodes. In this dissertation, thus, the affective meaning of an expression is given by the set of affective states it typically conveys within a linguistic community, but its interpretation at a given context is established by taking into account the interpreter's prior assumptions about the speaker's affective states and/or attitudes with respect to the target of the affective expression. (shrink)

Few metaphors in biology are more enduring than the idea of Adaptive Landscapes, originally proposed by Sewall Wright (1932) as a way to visually present to an audience of typically non- mathematically savvy biologists his ideas about the relative role of natural selection and genetic drift in the course of evolution. The metaphor, how- ever, was born troubled, not the least reason for which is the fact that Wright presented different diagrams in his original paper that simply can- not refer (...) to the same concept and are therefore hard to reconcile with each other (Pigliucci 2008). For instance, in some usages, the landscape’s non- fitness axes represent combinations of individual genotypes (which cannot sensibly be aligned on a linear axis, and accordingly were drawn by Wright as polyhedrons of increasing dimensionality). In other usages, however, the points on the diagram represent allele or genotypic frequencies, and so are actually populations, not individuals (and these can indeed be coherently represented along continuous axes). (shrink)

Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more (...) often. (shrink)

As a candidate theory of quantum gravity, the popularity of string theory has waxed and waned over the past four decades. One current source of scepticism is that the theory can be used to derive, depending upon the input geometrical assumptions that one makes, a vast range of different quantum field theories, giving rise to the so-called landscape problem. One apparent way to address the landscape problem is to posit the existence of a multiverse; this, however, has in (...) turn drawn heightened attention to questions regarding the empirical testability and predictivity of string theory. We argue first that the landscape problem relies on dubious assumptions and does not motivate a multiverse hypothesis. Nevertheless, we then show that the multiverse hypothesis is scientifically legitimate and could be coupled to string theory for other empirical reasons. Looking at various cosmological approaches, we offer an empirical criterion to assess the scientific status of multiverse hypotheses. (shrink)

Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. We show (...) that there are, in fact, good motivations for keeping PPTs and aesthetic predicates apart: the semantic structure of the former, but not the latter, entails an experiencer. There are many adjectives whose semantic structure arguably also entails an experiencer, yet which are readily used in expressing aesthetic judgments. Adjectives such as provocative or moving are a case in point, since as adjectives they arguably maintain the experiencer argument from the verb they are derived from. Nevertheless, when we describe, say, a sculpture as provocative, or a theater performance as moving, we clearly make aesthetic judgments. The difficult question, then, is to articulate the relationship between an aesthetic predicate (of which beautiful and ugly are paradigms) and other predicates that just happen to be used in making an aesthetic judgment. Tightly related to this point is the more general question of the relationship between an evaluative predicate and a predicate that occurs in an evaluative judgment. One of our aims is to make some progress in addressing these questions. (shrink)

Two types of formal models - landscape search tasks and two-armed bandit models - are often used to study the effects that various social factors have on epistemic performance. I argue that they can be understood within a single framework. In this unified framework, I develop a model that may be used to understand the effects of functional and demographic diversity and their interaction. Using the unified model, I find that the benefit of demographic diversity is most pronounced in (...) a functionally homogeneous group, and decreases with the increase of functional diversity. (shrink)

Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue (...) that if conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)