The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics (...) of nature, approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

The aesthetic appreciation of animals in China is different from that in the West. In this paper, I identify these differences by tracing the various definitions of the word ‘animal’ in Chinese, an...

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)

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 offers a sketch of what aesthetic appreciation of music fundamentally consists in, underlining both why such engagement counts as aesthetic and why such engagement counts as appreciation, and emphasizing the role of perception of gesture in the grasp of musical expressiveness. The analysis is illustrated by a piece of chamber music of Gabriel Fauré. In the last section of the essay I address some remarks of Roger Scruton on the connection between music and dance, (...) ones whose relevance to the appreciation of music is clear. (shrink)

Three strategic claims are explored sympathetically: (i) aesthetic appreciation centers on what is directly discriminable but it cannot, Relative to art, Be restricted to what is thus discriminable; (ii) a work of art may be aesthetically appreciated for properties that it cannot actually be shown to have; (iii) forgeries may, "qua" forgeries, Exhibit aesthetically valuable properties, Including directly discriminable properties. These issues are pursued critically in the context of the views of goodman, Rudner, Iseminger, Dickie, Lyas, And danto--And (...) of specimen cases drawn from the various arts. (shrink)

We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. (...) I argue that silence can have an aesthetic character and can sustain the kinds of rich experiences apt for aesthetic assessment and appraisal. (shrink)

Books reviewed: Malcolm Budd, The Aesthetic Appreciation of Nature, Oxford: Clarendon Press, 2002, 158 pp. No price. Reviewed by Colin Lyas, University of Lancaster Furness College Bailrigg Lancaster LA1 4YG.

This is an essay in appreciation of The Abundant Herds, a study of the ama-Zulu's naming practices for their Nguni cattle. The book reveals an aesthetic vision in which contemplative and practical attention are intertwined and a complex classificatory system does not undermine an appreciation of the individuality of the cattle. The book and the practices it celebrates permit a richer account of the beauty of farm animals to the standard functionalist approach.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 77-88 MuseSearchJournalsThis JournalContents[Access article in PDF]The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of EnvironmentAllen CarlsonIntroductionIn what is in retrospect easily recognized as one of the three or four truly groundbreaking essays in environmental aesthetics, Francis Sparshott distinguishes a number of different ways of conceptualizing our relationships to our environments. Such different conceptualizations, he argues, deeply influence the (...) ways in which we aesthetically experience both environments and the things that occupy them. 1 It follows that understanding of, and thus education about, our environmental conceptualizations are of the utmost importance to our aesthetic appreciation. In this article I follow up some of Sparshott's insights by considering the ways in which a number of rather common conceptualizations of environments relate to what is an increasingly important feature of our built environments—what is commonly referred to as "environmental architecture." In doing so, I hope to make clear how aesthetic education concerning these common conceptualizations is vital for the appreciation of not only environmental architecture but the whole of our built environment.Initially, however, some clarifications are in order. First, due to the emphasis in environmental architecture on environments in general, there is, within this area of concern, somewhat of a shift away from the idea of architecture as a fine art. Traditionally, architecture, along with painting, sculpture, poetry, and music, was regarded as one of the five founding art forms of the so-called modern system of the arts. 2 And, although architecture, given its utilitarian dimensions, has often been the poor sister of the famous five, some individuals nonetheless regard it essentially as a fine art. 3 However, given my focus on environmental architecture, I here pay equal attention to what is known as "vernacular architecture." [End Page 77]Second, the phrase "environmental architecture" refers to architecture and architectural practices that are typically promoted as "working with the environment" or as being "environmentally friendly." Such characterizations bring to mind ideas such as ecological design, sustainable development, and green architecture. They are associated with design and building practices that rely on renewable energy and materials, stress recycling and efficient use of resources, and attempt to maintain the long-term integrity of both natural and human environments. Consequently, whether exemplified in the fine art of architecture or in the vernacular, such design and building practices point initially to the ecological and, more broadly, the ethical issues associated with architecture, which are best approached within environmental ethics or traditional ethical theory. 4 Although these ethical matters are of the greatest importance, I here primarily address, as noted, aesthetic issues involved in environmental architecture.Aesthetics and Environmental ArchitectureThe aesthetics of environmental architecture, as the ethics of environmental architecture, concerns most generally the relationships between structures and their environments, and especially the environmental effects of the former on the latter. Of course, unlike ethics, which in the case of architecture considers the environmental benefits or harms brought about by design and building practices and the resultant structures, aesthetics focuses first and foremost on appearances, on that which is perceived by the senses. As is well known, the discipline takes its name from the Greek aisthetikos, meaning "of sense perception." However, to recognize that aesthetics is concerned with appearances is not necessarily to relegate it to the realm of the superficial. Even though, since the aesthetics of environmental architecture considers the relationships between structures and their environments, it initially focuses on the appearances of such relationships, it need not be restricted to questions of whether such relationships are simply "pleasing to the eye" or "pretty." Rather, the basic question in the aesthetics of environmental architecture is whether structures reside in their environments such that they appear as they should. By this I mean that they and their environments are related in such a way that the structures appear appropriate or proper within their environments. 5An emphasis on whether structures appear appropriate within their environments immediately moves the matter beyond simple appearances. This is because... (shrink)

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

The sublime has been a relatively neglected topic in recent work in philosophical aesthetics, with existing discussions confined mainly to problems in Kant's theory.1 Given the revival of interest in his aesthetic theory and the influence of the Kantian sublime compared to other eighteenth-century accounts, this focus is not surprising. Kant's emphasis on nature also sets his theory apart from other eighteenth-century theories that, although making nature central, also give explicit attention to moral character and mathematical ideas and generally (...) devote more discussion to art and artifacts than Kant did.2 Recent postmodern and poststructuralist theories of the sublime tend to concentrate on the concept in art and .. (shrink)

As aesthetic appreciators of the environment, we often encounter cases where our environmental commitments and our aesthetic responses do not seem to match. Some highly altered or contaminated environments may occasion powerful and insightful aesthetic experiences. In this article, I discuss some arguments that have been offered in favor of the view that this mismatch is not possible when we appreciate a particular environment with full awareness of its damaged or altered condition. I show that these arguments (...) are not conclusive and that there is room for valuable experiences of damaged or highly altered environments. Our knowledge of the damaged condition of an environment, while perceptually significant, does not necessarily make the resulting aesthetic experience to be negative. Finally, I show that these cases do not necessarily diminish the role that aesthetics can play in shaping our environmental sensibility and commitments. (shrink)

This article analyzes a type of experiment, very popular in 18th-century natural philosophy, which has apparently not led to insights into nature but which was aesthetically especially attractive. These experiments--"mimetic experiments"--allow us to trace a connection between aesthetic appreciation in science and in art contemporaneous with the science. I use this case as a problem for McAllister's theory of aesthetic induction according to which aesthetic standards in science tend to be associated with empirical success and propose (...) an alternative mechanism that is able to account for the natural philosophers' predilection for unsuccessful but beautiful experiments. (shrink)

In the following essay, I argue for an alternative anthropocentrism that, eschewing failed appeals to traditional moral principle, takes (a) as its point of departure the cognitive, perceptual, emotive, somatic, and epistemic conditions of our existence as members of Homo sapiens, and (b) one feature of our experience of/under these conditions particularly seriously as an avenue toward articulating this alternative, the capacity for aesthetic appreciation. To this end, I will explore, but ultimately reject philosopher Allen Carlson's ecological aesthetics, (...) and I will adopt with modification aspects of the work of Ronnie Hawkins, Val Plumwood, and Donna Haraway. My central claim is that, equipped with a better understanding of our interdependent relationship to/within human and nonhuman nature, an understanding made especially available to those who occupy situations imbued by subjugation, we can come to understand our human-centeredness not as a justification of entitlement, but as an opportunity for critical self-reflection upon those actions which endanger the ecological conditions of human and nonhuman being. I suggest, then, that developing criteria for an aesthetic appreciation ground in such a centeredness can make a vital contribution to a more ecologically defensible moral and political activism. (shrink)

This article is a response to yuriko saito's "is there a correct aesthetic appreciation of nature?" (jae 18:4) which challenges the position on the aesthetic appreciation of nature that i develop in a series of recent articles. i here consider saito's arguments, concluding that they neither establish the correctness of a wide range of kinds of aesthetic appreciations of nature nor undercut the grounds for the prominence i grant to scientific considerations in such appreciation.

In this essay I attempt to move the aesthetics of human environments away from what I call the designer landscape approach. This approach to appreciating human environments involves a cluster of ideas and assumptions such as: that human environments are usefully construed as being in general ''deliberately designed'' and worthy of aesthetic consideration only in so far as they are so designed, that human environments are in this way importantly similar to works of art, and that the aesthetics of (...) human environments thus has much in common with the aesthetics of art. As an alternative to the designer landscape approach, I suggest that the aesthetics of human environments should be understood as a major area of the aesthetics of everyday life. To facilitate this shift I develop the idea of an ecological approach to the aesthetics of human environments and the related notion of functional fit. The ecological approach employs an analogy with natural ecosystems and, by stressing the role of functional fit in each, facilitates the appreciation of both natural and human environments in a way that I characterize as ''looking as they should.'' The upshot, I maintain, is a set of appreciative consequences constituting a more satisfying aesthetic experience of our everyday human environments. (shrink)

I will argue that aesthetically appreciating some perfumes and aesthetically appreciating nature can interact in intriguing ways. I shall identify three such ways, meant to be instructive rather than exhaustive. First, one can appreciate a natural scent, such as that of jasmine, through a perfume, that is, by means of its incorporation in a perfume. Secondly, in the case in which a natural scent (such as that of rose, or of fig) is artificially reproduced within the context of a perfume, (...) the full aesthetic appreciation of this perfume as an instance of clever design presupposes the aesthetic appreciation of nature—specifically, the aesthetic appreciation of the natural scent that is being artificially reproduced. Thirdly, nature-inspired perfumes can provide narratives that can usefully inform subsequent encounters with nature. (shrink)

In this paper, I explore some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects. I cover three areas. The first deals with general approach, whether a paradigm of engagement is more appropriate to environmental aesthetics than one of detachment and disinterest. The second theme is about preservation and whether the appropriate model is static or dynamic. The final theme is about environmental criticism and the application of (...) aesthetic theory to arguments for preservation. (shrink)

The aesthetic appreciation of both art and nature is often, in fact, judged to be more – and less – serious. For instance, both natural objects and art objects can be hastily and unthinkingly perceived, and they can be perceived with full and thoughtful attention. In the case of art, we are better equipped to sift the trivial from the serious appreciation; for the existence of a corpus, and a continuing practice, of criticism of the arts – (...) for all their internal disputatiousness – furnishes us with relevant criteria. In the case of nature, we have far less guidance. Yet it must matter, there too, to distinguish trivial from serious encounters. When we seek to defend areas of “outstanding natural beauty” against depredations, it matters greatly what account we can give of the appreciation of that beauty: how its value can be set alongside competing and vociferously promoted values involved in industry, commerce and urban expansion. If we wish to attach very high value to the appreciation of natural beauty, we must be able to show that more is involved in such appreciation than the pleasant, unfocused enjoyment of a picnic place, or a fleeting and distanced impression of countryside through a touring-coach window, or obligatory visits to standard viewpoints or snapshot-points.That there is much work to be done on this subject is of course due to the comparative neglect of natural beauty in recent and fairly recent aesthetics. (shrink)

그림을 보거나 음악을 듣는 것을 즐기는 일은 예술작품을 감상하는(appreciate) 일과 관련된다. 그러나 감상의 대상을 오직 예술작품으로만 간주하는 것은 논란의 여지가 있다. 왜냐하면 감상의 대상에는 예술작품만 있는 것이 아니며 해당 작품을 항상 미적으로만 감상할 필요도 없기 때문이다. 그렇다면 자연환경이나 자연적 대상은 어떠한가? 이는 우리가 비예술적 활동 영역과 같은 일상 혹은 자연환경의 영역에서 예술에 대한 다양한 착상을 얻기 때문에 제기할 수 있는 물음으로 이해할 수 있다. 최근, 앤더슨(Erik Anderson)은 자연환경과 같은 비예술적 활동 영역에서 발생하는 침묵(silence)을 미적으로 감상할 수 있다고 주장한다. 나아가 그는 (...) 침묵에 대한 미적 감상이 우리 삶에 기여하는 바가 분명하므로 가치 있는 미적 경험이라고 덧붙인다. 하지만 침묵을 미적으로 감상할 수 있다는 앤더슨의 주장은 우리의 직관과 다소 거리가 있어 보인다. 왜냐하면 침묵이란 소리의 부재(absence)를 의미하며 그러한 상태에는 감상할 만한 미적 특징이 전혀 없어 보이기 때문이다. 만약 침묵에 주목할 만한 미적 특징이 전혀 없다면, 침묵에 대한 미적 감상은 불가능할 것이다. 필자는 이 글에서 침묵에 대한 미적 감상이 가능하다는 앤더슨의 주장을 비판적으로 음미하고 그 한계를 보이고자 한다. (shrink)

Recently, several authors have defended a new version of formalism in the aesthetics of nature and attempted to refute earlier arguments against the doctrine. In this essay, we assess this new formalism by reconsidering the force of antiformalist arguments against both traditional formalism and new formalism. While we find that these arguments remain effective against traditional formalism, new formalism falls largely beyond their scope. We therefore provide a novel line of argument for the insignificance of the formal appreciation of (...) nature. This argument suggests that new formalism is inadequate as a theory of the aesthetics of nature. (shrink)

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our (...) species’ evolutionary development, which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

The distinction between organic and inorganic nature receives little attention in contemporary nature aesthetics. Traditionally, however, this distinction was considered to have important aesthetic ramifications. Nick Zangwill has recently suggested that aesthetic differences between organic and inorganic nature arise because natural functions are present only in organic nature (for example, in the parts of organisms). I argue for a different explanation: though inorganic nature too has natural functions, these are metaphysically distinct from those characteristic of organic nature. I (...) defend the claim that this difference in functions is aesthetically significant, and use it to justify a common intuition about the thesis of positive aesthetics for nature. (shrink)

We often derive aesthetic pleasure from nature as well as from works of art. Although our experiences of both are analogous in some respects, there are some important differences. Since nature is not created specifically for aesthetic enjoyment it can be appreciated in more various ways than art. Hence, the distinction between aesthetic and non-aesthetic experience is crucial in examining the aesthetic appreciation of nature. ;An appreciation of any object is considered aesthetic (...) if it is directed toward the sensuous surface of the object for its own sake. This notion of the aesthetic, however, does not necessarily preclude the aesthetic relevance of various conceptual considerations. Examples are provided to illustrate how associated facts can modify our perception of the object's sensuous surface. Thus, a variety of aesthetic appreciations of the same object are possible. ;Among various possible appreciations of an artwork, the range of appropriate responses is limited by cultural, historical, and institutional determinations. In contrast, nature lacks such determinations; consequently, aesthetic considerations in most cases cannot show that certain responses toward nature are inappropriate. Neither can we claim that certain aesthetic responses toward nature are improper because they do not help justify the preservation of nature, hence are ethically undesirable. An aesthetic justification for preserving nature, therefore, presupposes its ethical justification. ;Contrary to a widely held view, such ethical considerations against destroying nature are not suggested by the traditional Japanese love of nature. The Japanese traditionally have appreciated nature for its psychological, aesthetic, and metaphysical values and thus their love toward nature lacks an ethical dimension. I suggest instead that the most fundamental reason for preserving nature concerns its functional unity which is indispensable to our health and survival. In this sense, the aesthetic appreciation of nature that incorporates the scientific considerations regarding such unity helps us develop an ecologically sensitive attitude toward nature. (shrink)

C. Thi Nguyen claims that although we can make aesthetic judgements based on testimony or inference, we resist doing so owing to a contingent norm of our social practice. For Nguyen, aesthetic engagement involves a ‘motivational inversion’ similar to games in which we adopt inefficient means of winning so that we can enjoy the process of playing. Similarly, he says, adopting the norm enables us to engage in the autonomous activity of appreciation. I argue that Nguyen is (...) right that the purpose of our practice is appreciation, but wrong to think any motivational inversion is required in pursuing it. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of (...) existing insights concerning the nature of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

In appreciating paintings, what we experience is either a result of their medium or object, regardless of whether the object is an actual thing, a fictional thing, an internal emotion, an abstract idea, or something else. However, the conceptions of ‘betweenness’ in traditional Chinese aesthetics and ‘twofoldness’ in contemporary Western aesthetics tell us that our experience of paintings might not be simply from the object or the medium itself but rather from a relation between the two. This study considers the (...) intercultural value of the above concepts while examining how our aesthetic pleasure might derive from awareness of the object, the medium, and the play of our mind and body. (shrink)

This paper explores Moritz Geiger’s work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger’s phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though (...) Geiger also makes important concessions to the intellectualist. Indeed, like proponents of the affective model, Geiger argues that a work’s aesthetic values are extracted by means of an affective state though the affective state in question is neither an emotion nor a feeling but a “liking”. In fact, like the intellectualist, he considers that a focus on the emotions might on certain occasions interfere in the aesthetic appreciation of the artwork. Next, I reconstruct Geiger’s distinction between surface and depth effects in terms of a distinction between two types of emotional responses to artworks. It is argued that Geiger’s distinction offers a powerful tool to distinguish those emotions that are intrinsically related to aesthetic values from those that are not and that this distinction can be useful to understand how different kinds of emotions contribute to aesthetic appreciation. I proceed to examine the historical sources of Geiger’s distinction between surface and depth effects in Theodor Lipps’s aesthetics and compare Geiger’s account with the works of other early phenomenologists working on values. In the final part, I illustrate the place of Geiger’s model in the contemporary discussion by means of an example. (shrink)

Carolyn Korsmeyer has offered some compelling arguments for the role of disgust in aesthetic appreciation. In the course of this project, she considers and holds up for justifiable criticism the account of emotional conversion proposed by David Hume in “Of Tragedy”. I will consider variant interpretations of Humean conversion and pinpoint a proposal that may afford an explanation of the ways in which aesthetic absorption can depend on and be intensified by the emotion of disgust.