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2024, IEF Agenda
Aesthetics and Ethics of Nature: Coimbra International Conference on Environmental Care Proposals will be accepted until August 31. Philosophical greetings! 🦉
An ecological paradigm shift from the “balance of nature” to the “flux of nature” will change the way we aesthetically appreciate nature if we adopt scientific cognitivism—the view that aesthetic appreciation of nature must be informed by scientific knowledge. Aesthetic judgments are subjective, though we talk about aesthetic qualities as if they were objectively inherent in objects, events, or environments. Aesthetic judgments regarding nature are correct insofar as they are part of a community consensus regarding the currently dominant scientific paradigm. Ecological science is grounded in metaphors: nature is a divine order, a machine, an organism, a community, or a cybernetic system. These metaphors stimulate and guide scientific practice, but do not exist independent of a conceptual framework. They are at most useful fictions in terms of how they reflect the values underlying a paradigm. Contemporary ecology is a science driven more by aesthetic than metaphysical considerations. I review concepts in the history of nature aesthetics such as the picturesque, the sublime, disinterestedness, and formalism. I propose an analogy: just as knowledge of art history and theory should inform aesthetic appreciation of art, knowledge of natural history and ecological theory should inform aesthetic appreciation of nature. The “framing problem,” is the problem that natural environments are not discrete objects, so knowing what to focus on in an environment is difficult. The “fusion problem” is the problem of how to fuse the sensory aspect of aesthetic appreciation with highly theoretical scientific knowledge. I resolve these two problems by defending a normative version of the theory-laden observation thesis. Positive aesthetics is the view that insofar as nature is untouched by humans, it is always beautiful and never ugly. I defend an amended and updated version of positive aesthetics that is consistent with the central elements of contemporary ecology, and emphasize the heuristic, exegetical, and pedagogical roles aesthetic qualities play in ecological science.
Journal of Agricultural & Environmental Ethics
Colorado State University. Libraries eBooks, 2001
Estetika, 2008
Published in Martin Drenthen & Jozef Keulartz (eds.). Environmental Aesthetics. Crossing Divides and Breaking Ground. New York: Fordham University Press, 2014
Environmental aesthetics crosses several commonly recognized divides: between analytic and continental philosophy, Eastern and Western traditions, universalizing and historicizing approaches, and theoretical and practical concerns. This volume sets out to show how these perspectives can be brought into conversation with one another. The first part surveys the development of the field and discusses some important future directions, such as the inclusion of everyday artifacts, human activities, and social relations. The second part explains how widening the scope of environmental aesthetics demands a continual rethinking of the relationship between aesthetics and other fields. How does environmental aesthetics relate to ethics? Does aesthetic appreciation of the environment entail an attitude of respect? What is the relationship between the theory and practice? The third part is devoted to the relationship between the aesthetics of nature and the aesthetics of art. Can art help “save the earth”? The final part illustrates the emergence of practical applications from theoretical studies by focusing on concrete case studies.
The Encyclopedia of Aesthetics, 1998
The natural world has long held aesthetic attraction, but environmental aesthetics is only now emerging as a discipline in its own right, with distinctive concepts, issues, and theories. In the last two decades, scholars have begun in earnest to develop the field from scattered beginnings that predate the current environmental movement. For environmental aesthetics does not stand apart from other kinds of research. It draws from philosophy, anthropology, psychology, literary theory and criticism, cultural geography, architecture, and environmental design, as well as from the arts. It is also related to philosophy, in particular, for ontology, ethics, and the theory of art. Moreover, environmental aesthetics has implications as well for governmental policy and social practice. Like environment itself, the field of environmental aesthetics extends broadly and on many levels. This article will explore this field in several directions: historical, conceptual, experiential, and practical.
The discussion of environmental aesthetics as it relates to ethics has primarily been concerned with how to harmonize aesthetic judgments of nature’s beauty with ecological judgments of nature’s health. This discussion brings to our attention the need for new perceptual norms for the experience of nature. Hence, focusing exclusively on the question of whether a work of “environmental art” is good or bad for the ecological health of a system occludes the important role such works can play in formulating new perceptual norms and metaphors for nature. To illustrate this point, the work of sculptor Andy Goldsworthy presents us with a different perception of time that is ethically useful.
Contribution: This article offers a hopeful conversation in the current climate catastrophe that implores humans to recover their ancient love of, and interdependence with, the beauty of the natural world. This is viewed as communication of God's grace in a Christology of Nature towards the flourishing of humans, the earth and all its creatures.
Groundworks Ecological Ossues in Philosophy and Theology, 2014
Environmental aesthetics crosses several commonly recognized divides: between analytic and continental philosophy, Eastern and Western traditions, universalizing and historicizing approaches, and theoretical and practical concerns. This volume sets out to show how these perspectives can be brought into conversation with one another. The first part surveys the development of the field and discusses some important future directions, such as the inclusion of everyday artifacts, human activities, and social relations. The second part explains how widening the scope of environmental aesthetics demands a continual rethinking of the relationship between aesthetics and other fields. How does environmental aesthetics relate to ethics? Does aesthetic appreciation of the environment entail an attitude of respect? What is the relationship between the theory and practice? The third part is devoted to the relationship between the aesthetics of nature and the aesthetics of art. Can art help “save the earth”? The final part illustrates the emergence of practical applications from theoretical studies by focusing on concrete case studies.
Environmental Values, 2006
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