Environmental aesthetics has become a matter of concern to many different groups in recent years—to conservationists, to legislators, reluctantly to industrialists, and indeed to the public at large. This interest seems to have a clear purpose. It is regarded as an effort, belated and desperate, to save the resources and beauties of our natural world from the possibility of complete and irrecoverable exploitation, and from the disfigurement and loss that must follow. It is an attempt to change the (...) atmosphere from a toxic medium that is often impossible to escape back to one that is fresh and invigorating. It is a proposal to rebuild our cities before they become unredeemable wastelands of physical and social decay. (shrink)

Despite its relative infancy, ecological science plays a pre-eminent role in current environmental decision-making globally and has, over recent decades, permeated a broad range of academic disciplines. Developments in two areas of philosophical thought in particular, environmental aesthetics and the aesthetics of science, beg an exploration of their intersection with respect to the role of aesthetics in ecological science. Here, we provide a contemporary synthesis of both environmental aesthetics and aesthetics of science to explore aesthetic (...) dimensions of contemporary ecological science, highlighting three main areas of convergence: 1.) the influence of aesthetic experiences and judgements of nature by ecologists on ecological science and our contemporary understanding of nature; 2.) the development and role of ecological ‘taste’ amongst ecologists; and 3.) moral, cultural and political implications of the ecological imagination as underpinned by current ecological science. We identify a risk for feedback mechanisms to perpetuate a relatively homogeneous ecological aesthetic as a result of reciprocal influences between ecological science and society which may further promote inadvertent policy advocacy and stifle scientific innovation. We suggest ecological science would benefit from increased aesthetic literacy and reflection by broadening the ecological imagination and intentionally facilitating more diverse and equitable science to inform policy outcomes. Our argument should be of interest to philosophers of science, ecologists and those that draw on their outputs. (shrink)

Arts, Ecologies, Transitions provides in depth insights into how aesthetic relations and current artistic practices are fundamentally ecological and intrinsically connected to the world. As art is created in a given historic temporality, it presents specific modalities of productive and sensory relations to the world. With contributions from more than 45 researchers, this book tracks evolutions in the arts that demonstrate an awareness of the environmental, economic, social, and political crises. It proposes interdisciplinary approaches to art that clarify the (...) multiple relationships between art and ecology through an exploration of key concepts such as collapsonauts, degrowth, place, recycling, and walking art. All the artistic fields are addressed from visual arts, theatre, dance, music and sound art, cinema, photography, including those that are rarely represented in research such as digital creation or graphic design, to showcase the diversity of artistic practices in transition. Through original research this book presents ideas in an accessible format. It book will be of interest to students and researchers in the fields of environmental studies, ecology, geography, cultural studies, architecture, performance studies, visual arts, cinema, music and literature studies. (shrink)

Mind Ecologies: Body, Brain, and World: Book Abstract from Columbian University Press -/- Matthew Crippen and Jay Schulkin -/- Pragmatism, a pluralistic philosophy with kinships to phenomenology, Gestalt psychology and embodied cognitive science, is resurging across disciplines. It has growing relevance to literary studies, the arts, and religious scholarship, along with branches of political theory, not to mention our understanding of science. But philosophies and sciences of mind have lagged behind this pragmatic turn, for the most part retaining a (...) central-nervous-system orientation, which pragmatists rejected as far too narrow. -/- Matthew Crippen, a biologically orientated philosopher of mind, and Jay Schulkin, a pioneer in neuroscience, offer an innovative interdisciplinary theory of mind. They argue that pragmatism in combination with phenomenology is not only able to give an unusually persuasive rendering of how we think, feel, experience, and act in the world but also the account most consistent with evidence from cognitive science and neurobiology. Crippen and Schulkin contend that cognition, emotion, and perception are incomplete without action, and in action they fuse together. Not only are we embodied subjects whose thoughts, emotions, and capacities comprise one integrated system; we are living ecologies inseparable from our surroundings, our cultures, and our world. Ranging from social coordination to the role of gut bacteria and visceral organs in mental activity, and touching upon fields such as robotics, artificial intelligence, and plant cognition, Crippen and Schulkin stress the role of aesthetics, emotions, interests, and moods in the ongoing enactment of experience. Synthesizing philosophy, neurobiology, psychology, and the history of science, Mind Ecologies offers a broad and deep exploration of evidence for the embodied, embedded, enacted, and extended nature of mind. (shrink)

Despite its relative infancy, ecological science plays a pre-eminent role in current environmental decision-making globally and has, over recent decades, permeated a broad range of academic disciplines. Developments in two areas of philosophical thought in particular, environmental aesthetics and the aesthetics of science, beg an exploration of their intersection with respect to the role of aesthetics in ecological science. Here, we provide a contemporary synthesis of both environmental aesthetics and aesthetics of science to explore aesthetic (...) dimensions of contemporary ecological science, highlighting three main areas of convergence: 1.) the influence of aesthetic experiences and judgements of nature by ecologists on ecological science and our contemporary understanding of nature; 2.) the development and role of ecological ‘taste’ amongst ecologists; and 3.) moral, cultural and political implications of the ecological imagination as underpinned by current ecological science. We identify a risk for feedback mechanisms to perpetuate a relatively homogeneous ecological aesthetic as a result of reciprocal influences between ecological science and society which may further promote inadvertent policy advocacy and stifle scientific innovation. We suggest ecological science would benefit from increased aesthetic literacy and reflection by broadening the ecological imagination and intentionally facilitating more diverse and equitable science to inform policy outcomes. Our argument should be of interest to philosophers of science, ecologists and those that draw on their outputs. (shrink)

The Aesthetics of Natural Environments is a collection of essays investigating philosophical and aesthetics issues that arise in our appreciation of natural environments. The introduction gives an historical and conceptual overview of the rapidly developing field of study known as environmental aesthetics. The essays consist of classic pieces as well as new contributions by some of the most prominent individuals now working in the field and range from theoretical to applied approaches. The topics covered include the nature (...) and value of natural beauty, the relationship between art appreciation and nature appreciation, the role of knowledge in the aesthetic appreciation of nature, the importance of environmental participation to the appreciation of environments, and the connections between the aesthetic appreciation of nature and our ethical obligations concerning its maintenance and preservation. This volume is for scholars and students focussed on nature, landscapes, and environments, individuals in areas such as aesthetics, environmental ethics, geography, environmental studies, landscape architecture, landscape ecology, and the planning and design disciplines. It is also for any reader interested in and concerned about the aesthetic quality of the world in which we live. (shrink)

The current feminist debate over ecology raises important and timely issues about the theoretical adequacy of the four leading versions of feminism-liberal feminism, traditional Marxist feminism, radical feminism, and socialist feminism. In this paper I present a minimal condition account of ecological feminism, or ecofeminism. I argue that if eco-feminism is true or at least plausible, then each of the four leading versions of feminism is inadequate, incomplete, or problematic as a theoretical grounding for eco-feminism. I conclude that, if (...) eco-feminism is to be taken seriously, then a transformative feminism is needed that will move us beyond the four familiar feminist frameworks and make an eco-feminist perspective central to feminist theory and practice. (shrink)

Ours is an age of offense, a time of reactionary shock—always received, never given. Ours is an age that has forgone cultural narratives, a time of individualism—wherein personal identities trump the collective spirit. Ours is an age of failing earth, a time of ecological collapse—yet the consumption of global capitalism continues to run amok. But don't fear. You have the correct worldview, the best solutions. It’s not your fault these things are happening. It’s the president’s, the immigrant’s, and the Islamicist’s. (...) Or perhaps It’s the socialist’s, the tree hugger’s, and the baby killer’s. But it’s not your fault. Never yours. For the world exists as you see it—in an echo chamber lined with golden pixels. Do I still have your attention? Then join me. Within the covers of Narrativizing Theories, I dive into ambiguity and aesthetics to depict how clashing worldviews exist side by side yet remain mutually incompatible. I examine how cultures distinguish between acceptable and unacceptable beliefs, embodiments, and identities. And I outline an aesthetic theory of ambiguity that highlights—through the twists and turns of literature—the provisionality of knowledge and the narrativization of reality. (shrink)

The aesthetic functional education of film art lies in the fact that Chinese people of their background in traditional culture, can be influenced and infected by truth, goodness, and beauty through excellent film works and develop empathy in the ritualized activity of watching movies. The animation film "30,000 Miles from Chang’an" combines historical narrative previous historical cultural and artistic aesthetics, presenting a colorful world of aesthetic education. The film is based on traditional poetry, and is conducive to unique narrative (...) art techniques, presenting history and reality to the audience to the extensive greatest. The audience cannot appreciate the prosperity of the heyday of the Tang Dynasty from the film pictures only appreciate the charm of Tang Dynasty poetry, which enhances the audience's understanding and recognition of Chinese traditional culture. This movie provides the audience with an animated film with an opportunity to explore information about the original history that is told as a true story through this film through the traditional culture of China and enrich the audience's aesthetic experience and cultural literacy. Interestingly, the film system of China and the socialist film system were established at this stage and exerted a continuous influence on the political, economic, social, and cultural fields. (shrink)

Environmental artworks are not an aesthetic affront against nature because the aesthetic qualities of artworks are to some extent a function of other sorts of qualities, such as moral, social, or ecological qualities. By appealing to a new ecological paradigm, we can characterize environmental artworks as anthropogenic disturbances and evaluate them accordingly. Andrew Light’s model of ecological citizenship emphasizes public participation in ecological restoration projects, which are very similar to environmental artworks. Participation in the creation, appreciation, and criticism of environmental (...) art can count as a form of ecological citizenship when these practices provoke public deliberation about environmental and other community-regarding values. (shrink)

Across these essays Arnold Berleant demonstrates how aesthetic values and theory can be used to reappraise our social practices. He tackles issues within the built environment, everyday life and politics, breaking down the dichotomy between the natural and the human. His work represents a fresh approach to traditional philosophical questions in not only ethics, but in metaphysics, truth, meaning, psychology, phenomenology and social and moral philosophy. Topics covered include the cultural aesthetics of environment, ecological aesthetics, the aesthetics (...) of terrorism and the subversion of beauty. The corruption of taste by the forces of commercial interests as well as how aesthetics can advance our understanding of violence is also considered. Berleant's exploration is supported by his analysis of 19th-century art to the present day, starting with impressionism through to postmodernism and contemporary artistic interventions. By critically examining the field in this way and casting new light on social understanding and practice, this collection makes a substantive contribution in identifying and clarifying central human issues, guided by an understanding of aesthetic experience and appreciation as a powerful tool for social critique. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as (...) it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

Marcuse argued that U.S.-led globalized capitalism represented the irrational perfection of waste and the degradation of the earth, resurgent sexism, racism, bigoted nationalism, and warlike patriotism. Inspired by the revolutionary legacy of Herbert Marcuse’s social and political philosophy, this volume appeals to the energies of those engaged in a wide range of contemporary social justice struggles: ecosocialism, antiracism, the women’s movement, LGBTQ rights, and antiwar forces. The intensification of these regressive political tendencies today must be countered, and this can be (...) best accomplished through radical collaboration around an agenda recognizing the basic economic and political needs of diverse subaltern communities. Marcuse's Great Refusal is elaborated as a collective project of system negation that is becoming a new general interest. (shrink)

For several decades, there has been interest in traditional ecological knowledge (TEK) in ecological research and conservation. Traditional knowledge and practices are recognized as essential for understanding sustainable uses of natural resources and for developing enduring eco-social policies and cross-cultural conservation ethics. In addition, there has been a growing effort in environmental policy to recognize aesthetic and spiritual values that indigenous peoples attribute to nature. In philosophy, some Western aestheticians have turned their attention to aesthetic diversity and initiated cross-cultural (...) approaches. Nonetheless, environmental aestheticians have so far paid little attention to the potential of TEK in nature appreciation. In this article, I examine Sámi notions of landscape, the environmental knowledge of Sámi reindeer herders, and their appreciation of what is commonly referred to as the natural environment. I challenge scientific cognitivism, arguing that Sámi TEK employs perceptual categories that could provide the basis for a robust ‘cognitivist’ approach and, furthermore, that Sámi appreciation of nature exemplifies a unified view that Allen Carlson called for in his late work. However, I also argue that for cultural outsiders, acquiring TEK is fraught with epistemic and ethical challenges and requires humility and diligence. (shrink)

I consider and reject four possible arguments directed against the preservation of natural aesthetic conditions. (1) Beauty is not out there in nature, but is “in the eye ofthe beholder.” I argue that since ingredients ofnature cause aesthetic experiences, we cannot justifiably disregard and exploit nature. Preservation of aesthetic conditions is compatible with both objective and nonobjective theories of aesthetic value. (2) Frequent aesthetic disagreements bring about irresolvable disputes concerning which segments of nature to preserve. I claim that these disputes (...) are not irresolvable. Not all disputes about nature’s aesthetic values are purely aesthetic disputes: ecological balance, community identity, historic continuity, and economics are relevant; aesthetic experts can help; and such disputes can be put to a vote. (3) Natural beauty is not important compared to nonaesthetic values of nature. I show that this is questionable. Current awareness of environmental problems includes a rapidly growing concern for natural aesthetics. Moreover, even if majority preference is for nonaesthetic uses of nature, this does not settle the question of whether we ought to preserve nature’s attractive features. (4) From neither a utilitarian nor a deontological viewpoint do we have an obligation to preserve natural aesthetic conditions for future generations. I argue that even if we do not have a strict obligation, it does not follow that it makes no moral difference whether we preserve. Not yet existing people may have no rights against us, but this does not mean that we do no wrong in polluting and destroying aesthetic conditions of the natural world in which future people will live. (shrink)

It is common to hear that deep ecology “has reached its logical conclusion and exhausted itself” in a vacuous anthropomorphism and absurd nonanthropocentrism. These conclusions should be rejected. Properly understood, neither objection poses a serious problem for deep ecology so much as for the ethic of “ecological holism” which some philosophers—wrongly—have taken to arise from deep ecology. Deep ecology is not such an ethic, but is best understood as an aesthetically articulated conception of what, following Robinson Jeffers, may be called (...) “Wild Mind,” and such a Wild Mind is characterized—not criticized and condemned—by just that anthropomorphism and nonanthropocentrism critics focus on when they attack the ethic of ecological holism. (shrink)

Allen Carlson has argued that a proper aesthetics of nature must judge nature for ‘what it is’, and that such judgements must be informed by a scientific understanding of nature, in particular, one shaped by the science of ecology. Carlson uses these claims to support his theory of positive aesthetics. This paper argues that there are problems in this view. First, it misunderstands ecology, thereby adopting a view of the natural world that holds it to be much more (...) integrated than it is. Second, it ignores an even more fundamental science of nature, evolution. Thus, it misunderstands both ecology and nature. An alternative to this view would be an aesthetics based on an evolutionary understanding of nature, which holds that, although there are many functional wholes in nature, there is also significant conflict, disintegration, and incongruent scales. A proper aesthetics of nature must take these conflicts into account. The paper ends with a sketch of an aesthetic theory based on the science of evolution. (shrink)

Transformative learning is a compelling approach to learning that is becoming increasingly popular in a diverse range of educational settings and encounters. This book reconceptualises transformative learning through an investigation of the learning process and outcomes of International Service-Learning, a pedagogical approach that blends student learning with community engagement overseas and the development of a more just society. Drawing upon key philosophers and theorists, Bamber offers an integrated, multi-dimensional approach, linking transformative learning to the development of the authentic self, and (...) analysing the aesthetic, moral and relational dimensions of ISL in an increasingly globalized world. Chapters explore rich empirical data to provide a timely framework and ethical ecology of transformative learning, detailing the challenges facing the approach, and how it can be embedded at the levels of practice, institutional ethos and partnership. Transformative Learning through International Service-Learning will appeal to academics, researchers, teachers, instructors and leaders in the fields of service-learning, international education, character education and in adult learning and education. It will also be of interest to practitioners working in international education, development education, volunteering, service-learning and community engagement. (shrink)

Both landscape and aesthetics are all too often considered disengaged categories associated with leisure and contemplation. This book establishes landscape as a key concept in contemporary thought and rethinks aesthetics in political and activist terms. In order to do so, it challenges the dualism of "the environment" as the space inhabited by humans and the province of the natural sciences about which philosophy has little to say. (This separation is evident even in the name of the recent field (...) of environmental humanities.) In a holistic view, landscapes are at the intersection of environment and human, place and people, and nature and culture, and aesthetics provide an immersive and engaged approach to them. Landscapes are ways of being in the world and aesthetics practical means of inhabiting them. Utilizing a pragmatist, antiessentialist lens, Alberto L. Siani characterizes landscapes (as opposed to environments and territories) as concrete, experienced habitats, performative ways of making sense of the world, while aesthetics (following Dewey) identify values and ordering criteria that permeate them. He addresses issues such as temporality, environmentalism, justice, education, and interdisciplinarity within this framework and in conversation with scientific positions. A coda gives three phenomenological accounts of intensely experienced and inhabited landscapes. (shrink)

This paper offers a moral history of the industrialisation of seaweed harvesting in Norway. Industrialisation is often seen as degrading natural resources. Ironically, we argue, it is precisely the scale and scope of industrial utilisation that may enable non-instrumental valuations of natural resources. We use the history of the Norwegian seaweed industry to make this point. Seaweed became increasingly interesting to harvest as a fruit and then as a crop of the sea in the early twentieth century following biochemical applications (...) for alginates derived from seaweed. When harvesting was mechanised, however, attention turned to the environmental and aesthetic value of kelp forests. Further, the sale of the industry to the American FMC corporation flagged the national value of these plants. In sum epistemic, aesthetic and moral appreciations of natural resources are tangled up and co-evolve with their industrial utilisation, in an ecology of values. Our account uses interview and ethnographic material from key sites in Norway. (shrink)

This paper is mainly intended to provide some insights into the relationship between the aesthetic dimension, human practical/habitual knowledge and the environment ; more specifically, I shall shed some light on that variety of problems, issues and questions that arise when we examine role and functioning of our human aesthetic attitude – considered as an anthropological constant result of both biological evolution and cultural evolution and which involves, in its exercise, an intimate relationship between the organism and its environment – (...) within the context of today’s environmental crisis. (shrink)

My aim is to develop a feminist theory of value—an axiology—which unites two notions that seem to have little in common for a theorizing whose ultimate goal is justice-driven emancipatory action, namely, the ecological and the aesthetic. In this union lies the potential for a critical feminist political praxis capable of appreciating not only the value of human life, but those relationships upon which human and nonhuman life depend. A vital component of this praxis is, I argue, the potential for (...) an aesthetic experience whose value is exemplified in those actions that tend to foster respect for biodiversity and ecological stability. (shrink)

Abstract:In this paper, Heidegger's lifelong interest in usable things is combined with his critique of aesthetics and environmental reading of his works to build the framework for reexamining his notion of authenticity (Eigentlichkeit) as the category which environmental aesthetics can employ to reconceptualize our aesthetic judgment of everyday artifacts and how, by doing so, that contributes to reducing the ecologically harmful effects of consumerism. To this end, I draw upon the ambiguous position of usable artifacts in Heidegger's (...) philosophy. I shall unpack this ambiguity by explaining that it mirrors tensions in Heidegger's idea of truth as inherently agonistic dis-closure. I argue that although everyday artifacts—as opposed to artworks—are situated closer to the pole of hiddenness, they can participate aesthetically in revealing being. Elucidating this requires re-appropriating Heidegger's concept of being 'authentic' as being 'one's own' (eigen). I show that applying the category of (Heideggerian) authenticity to everyday artifacts should consist in unfolding their ontological uniqueness, which is irrespective of their ontic replicability. Finally, I develop an understanding of authenticity by exploring environmental-aesthetical implications of some of Heidegger's remarks on things related to their susceptibility to changes. (shrink)

Based on the premise that an aesthetic experience is inevitably a human one, this paper considers a non-anthropocentric ecological aesthetic experience through the lens of Indian aesthetics. It does so by problematizing the beautiful in the aesthetic. Rasa in Indian aesthetics refers to the essence of emotion felt in an aesthetic experience. The adbhuta rasa refers to the experience of wonder through astonishment. I argue that what we might find amazing in nature is not only the picturesque, but (...) rather the ecological interconnectedness of nature. Through Indian aesthetics, we recognize in this paper, the criterion for a sensitive, receptive and responsive subject presenting themselves to an engulfment, as important for a non-othered ecological aesthetic experience. It is recognized that there might be an aesthetic allowance in ecological design, realized by placing importance on a sensory immersion in the natural world that allows an engulfment in it. While not neglecting a cognitive reflexive analysis of such a relishing of the adbhuta, we conceive of an experience that finds aesthetic value and appreciation beyond the instrumental and commodified value placed on natural environments. The paper concludes with key questions that a rasa anubhuti raises for emerging eco-aesthetic theories and a summary of the unique hermeneutical and epistemological contributions this approach could make to the field. (shrink)

Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...) environmental aesthetics, and develops a critique of the differing ecological aesthetics of Jusuck Koh and Xiangzhan Cheng. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Martin Luther and Buddhism: The Aesthetics of SufferingPaul O. IngramMartin Luther and Buddhism: The Aesthetics of Suffering. By Paul S. Chung. Eugene, OR: Wipf and Stock Publishers, 2002. 434 pp.As a member of the Lutheran community (Evangelical Lutheran Church in America), I am struck by the fact that Lutheran theologians—referred to as "teaching theologians" when employed by Lutheran seminaries—seem little interested in religious pluralism in general (...) and interreligious dialogue in particular. There are important exceptions, of course, one being Donald Luck of Trinity Lutheran Seminary in Ohio. And the most intense and coherent dialogue between Christians and Muslims now taking place in the United States is located at Luther Seminary in St. Paul, Minnesota. But by and large, Lutheran theology seems unengaged with the realities of religious pluralism. Rather than dialogue, "missionology" is the focus of most Lutheran theological encounter with the world religions, which means that most Lutheran conversation with religious pluralism is best characterized as monologue.It's different for most Lutherans sitting in the pews of local congregations. Most lay persons understand that they must live their faith contextualized by their religiously plural neighborhoods. Lutheran laity are interested the religious practices and worldviews of their neighbors because they are in contact with their neighbors everyday. They desire to meet and know the religious "other" not as "other," but as fellow human beings seeking to live in community. My distinct impression, gained [End Page 235] from teaching adult education courses in local congregations (mostly Lutheran and other mainline denominations), is that Christian lay people are usually miles ahead of their pastors, denominational leaders, and teaching theologians in their encounter with the realities of religious pluralism and their desire for dialogue. For these reasons, Paul S. Chung's book, Martin Luther and Buddhism, is important, and I hope it will be the beginning of specifically Lutheran dialogue with the Buddhist tradition. Again, as a Lutheran, I can only say, "It's about time."Chung's goal is twofold: (1) engaging in critical dialogue with the theology of Martin Luther, and (2) Asian pluralistic theology of religions. Specifically, the author, himself a Korean Lutheran pastor and theologian, places Luther's theology of the Cross in dialogue with Buddhist understanding of suffering (duh.kha). His thesis is that what Christianity and Buddhism have in common is their understanding of suffering, albeit each tradition having different approaches and "solutions" to universal suffering. Accordingly, rereading Luther's theology of the Cross in dialogue with Buddhism's take on suffering, its causes, and its resolution is the center of Chung's hermeneutical approach to Luther.Surely, Chung is on the right track. Buddhism's focus on the experience of universal suffering and its resolution is one of its defining features. Chung's reason for placing Luther's theology of the Cross in dialogue with Buddhism lies mainly in the fact that Luther focused on the suffering of God on the cross incarnated in the suffering of the historical Jesus, which he placed in direct contrast to the "theology of glory" of medieval scholastic theology. Chung's claim is that Luther's understanding of divine suffering is a "liberation theology" that needs be contextualized by contemporary struggle for social, economic, ecological, and women's liberation from systemic structures of injustice. Because justice issues are not religion-specific, Luther's theology of the Cross in socially engaged dialogue with Buddhism should be a source of liberation for both Christians and Buddhists.Chung's work stands in a long line of Asian Christians seeking to translate Christian teachings and practices into the religious traditions foundational to Asian cultures, in Chung's case Korean Buddhism and, to some degree, Confucianism. One immediately thinks of Aloysius Pieris's dialogue with Buddhism in Sri Lanka, Seiichi Yagi and Masaaki Honda's appropriation of Mahayana doctrines in their attempts to relate Christian faith to Japanese cultural experience, or Raimundo Panikkar's interpretation of Christian faith through the lenses of Hinduism and Buddhism. All ofthese theologians note that Anglo-European intellectual and cultural traditions are not easily translatable into Asian cultural experience. Because Western forms of Christian tradition are foreign to Asian cultural values... (shrink)

These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. -/- What is art? Must art be beautiful? Must art be politically or culturally significant? How does art differ from other products of human activity? Joseph Margolis has spent decades thinking through these and related questions. In this book, he introduces his reader to the field of Aesthetics by thinking through the most fundamental philosophical (...) questions about art in a way that is engaging and accessible. This book could be used alongside a textbook of classic readings in Aesthetics, or as a stand-alone text in Aesthetics. THE WADSWORTH PHILOSOPHICAL TOPICS SERIES presents readers with concise, timely, and insightful introductions to a variety of traditional and contemporary philosophical subjects. With this series, students of philosophy will be able to discover the richness of philosophical inquiry across a wide array of concepts, including hallmark philosophical themes and themes typically underrepresented in mainstream philosophy publishing. Written by a distinguished list of scholars who have garnered particular recognition for their excellence in teaching, this series presents the vast sweep of today's philosophical exploration in highly accessible and affordable volumes. These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. (shrink)

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Digital technology has transformed the way that we visualise the natural world, the art we create and the stories we tell about our environments. Exploring contemporary digital art and literature through an ecocritical lens, Digital Vision and the Ecological Aesthetic (1968-2018) demonstrates the many ways in which critical ideas of the sublime, the pastoral and the picturesque have been renewed and shaped in (...) digital media, from electronic literature to music and the visual arts. The book goes on to explore the ecological implications of these new forms of cultural representation in the digital age and in so doing makes a profound contribution to our understanding of digital art practice in the 21st century. (shrink)

Karl Marx has often been described as anti‐ecological, concerned about the exploitation of humanity, not of nature. But, conducting a careful review of Marx's writings and a survey of the intellectual context in which Marx lived and worked, John Bellamy Foster argues that, in fact, Marx had a deeply and systematically ecological view of the world.To make this argument, Foster traces the development of Marx's ideas. He finds in the materialist, antiteleological philosophy of Epicurus the partial origins of an ecological (...) perspective. Other elements of Marx's ecology emerged from his critique of Thomas Malthus's view that population would inevitably outstrip agricultural production—a conclusion that could justify social inequality. From this subject, Marx turned to a study of the agricultural chemist Justus von Liebig, drawing from him to formulate the notion of a “metabolic rift” in the human relation with nature. Armed with such ideas, Marx contributed to debates over soil “exhaustion,” the problems of agriculture, and the division between town and country. Ultimately, under Liebig's influence, Marx arrived at an ecological critique of capitalist agriculture and what he saw as its inevitable depletion of the natural fertility of the soil. Both he and Friedrich Engels would argue that ecological problems could be addressed only if human beings regarded nature rationally, through an understanding of nature's laws, and then organized production accordingly.Thus, engaged in nineteenth‐century discussions about science and nature, including those relating to Darwinism, Marx linked social transformation with the transformation of the human relation with nature: the alienation of human labor paralleled the alienation of human beings from nature. In other words, the domination of nature resulting from unequal ownership of land paralleled the domination of humans through economic power. Foster traces these ideas across each stage in the development of Marx's thought: in relation to agriculture, Darwinism, and, in his last years, ethnology, geology, and paleontology. Foster follows the course of Marx's ecological views even after Marx's death. For a time, Marx and Engel's ecological critiques influenced Marxist thought in the Soviet Union. Nikolai Bukharin, August Bebel, and other Marxist scholars built on the original foundation, and by the 1920s Soviet ecology was highly advanced—only to be crushed, in the 1930s, by Stalin.Seeking to place Marx within his context, Foster ranges widely, from Epicurus to the influence of Epicureanism in the seventeenth and eighteenth centuries to Julien Offray de La Mettrie, Baron d'Holbach, Denis Diderot, and Darwin, and on to Hegel, political economy, and French socialism. He covers thinkers who influenced Marx as well as those whom Marx reacted against, including William Paley and, especially, Malthus, who represented for Marx the intrusion of natural theology into political economy. In attempting to reconstruct Marx's world, Foster largely follows the methods of traditional intellectual history, often interpreting ideas apart from their contexts. In his analysis of Darwin's ideas, for example, he considers Marx's debts to other scholars but not Marx's own research and observations of nature. Foster, however, does review in some detail society and politics in Marx's day, remarking on the social discontent and the perception of materialism as a threat to the established order, associated with both atheism and revolutionary France.Foster's ambition goes beyond illuminating Marx's thought to situating ecology within materialism and science. Foster thus takes issue, persuasively, with the idea, often encountered in Green thought, that modern science justifies exploitative attitudes toward nature. This view, according to Foster, is a misinterpretation of modern science and reflects a reduction of ecological questions to questions of values, obscuring the material interrelations between humans and nature. In fact, he finds no necessary contradiction between sustainability and the mastery of nature, noting that in the seventeenth century John Evelyn, among others, remained an advocate of modern science even as he defended trees and criticized London's air pollution. And he notes that in the nineteenth century ecological thought, in the work of Darwin and others, was grounded in materialist conceptions of nature.Foster's analysis is valuable both as a critique of the conventional wisdom about Marx's views of nature and as a thorough effort to place Marx within the context of his time. Scholars and readers interested in nineteenth‐century intellectual history will find Foster's acccount of an ecological revolutionary worth the study. (shrink)

“This is a useful and imaginative project... Leaman is an accomplished and productive author and the book will be of genuine and considerable interest.” —Lenn E. Goodman, Vanderbilt University It is often argued that a very special sort of consciousness went into creating Islamic art, that Islamic art is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges (...) all of these ideas, and argues that they are misguided. Instead, he suggests that the criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism. Leaman criticizes the influence of Sufism on Islamic aesthetics and contends that it is generally misleading regarding both the nature of Islam and artistic expression. He discusses issues arising in painting, calligraphy, architecture, gardens, literature, films, and music and pays close attention to the teachings of the Qur’an. In particular he asks what it would mean for the Qur’an to be a miraculous literary creation, and he analyzes two passages in the Qur’an—those of Yusuf and Zulaykha and King Sullayman and the Queen of Sheba. His arguments draw on examples from history, art, philosophy, theology, and the artefacts of the Islamic world, and raise a large number of difficulties in the accepted paradigms for analyzing Islamic art. (shrink)

Herbert Marcuse’s political-philosophical vision, cultural critique, and social activism continue to offer an intelligent strategic perspective on current concerns – especially issues of ecological destruction, neofascist white supremacy, hate speech, hate crimes, and racist police violence. These can be countered through a recognition of the intersectionality of radical needs of diverse constituencies and radical collaboration, giving rise to system negation as a new general interest, and an ecosocialist strategy of revolutionary activism within a global alliance of transformational forces.

The notion of ecological civilisation has become central to Chinese efforts to confront and deal with environmental problems. However, ecological civilisation is characterized by its proponents in different ways. Some see it as simply an adjunct to the existing system designed to deal with current ecological crises. Its more radical proponents argue for a socialist ecological civilisation that should be developed globally and transform every part of society, changing the way people perceive, live and relate to each other and (...) to nature, and the goals they aspire to. Ecological civilisation is a translation of the Russian notion of ecological culture, and tracing the history of ecology and the concept of culture in the Soviet Union, particularly in the 1920s, I will support this more radical view, arguing that ecological civilisation is not only underpinned by eco-socialism; it provides the means to clarify the meaning of socialism generally in a way that accords with deep assumptions of Marx’s critique of capitalism. That this notion has been officially embraced within China establishes a tradition of socialist thought that now has the potential to challenge and replace global capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. Over." (...) --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

Ecological restoration and native landscaping are increasing, particularly in the American Midwest, where they form part of the area's history and culture of conservation. But practitioners rarely pause to ask philosophical questions related to categories of native and invasive or human control and harmony with nature. This article brings philosophy into conversation with practice, using members of Wild Ones Native Landscaping, a non-profit headquartered in Neenah, WI, as a case study. Philosophers and ethicists who are studying Ecological Restoration and Native (...) Landscaping can learn valuable lessons – in practicality, aesthetics and flexibility – from practitioners such as the Wild Ones. (shrink)

'This is a book to which the attention of students of art theory and criticism, and all those interested in the important application of psychoanalysis to other ...

The ancient aesthetics of yijing has played a crucial role in traditional Chinese philosophy, literature and art since the eighth century CE. Defined variously by early and contemporary writers, yijing links an artist's emotional domain to objects in the world. This article conceptualises yijing as an ecological aesthetics and distinguishes it from an environmental aesthetics. In particular, two aspects of yijing render it an eco-aesthetics: subject–object correspondence (or ‘engagement'); and empathic identification with the environment (or ‘bio-empathy'). (...) Three brief case studies from urban planning, environmental conservation and the creative arts demonstrate the contemporary importance of yijing to ecological issues. (shrink)

In this interview, Brian Massumi discusses the possibility of a collective practice of experimentation beyond the infernal alternatives between the state authoritarianism and a narrow and exclusionary notion of freedom based on the individual, reinforced by the Covid-19 pandemic. This requires diagnosing the mix of forces at play, in other words, examining the interlinkages of various modes of power. Analysis of the ecology of powers then invokes a positive project that is inventing an aesthetics of the earth. An (...) class='Hi'>aesthetics of the earth is a call for a more-than-human relational ethics, which takes place in intricate co-composition with the earth and its emergent strata of all kinds: viral, bacterial, vegetal, animal, human, technological. Thus, from the ecology of powers to an aesthetics of the earth, Massumi proposes a politics of potential that is diagnostic rather than prescriptive yet encourages experimentation towards a postcapitalist future at this critical juncture of our epoch. (shrink)

Taking an eco-socialist perspective, _The Ecological Crisis and the Logic of Capital_ explores the logic of capitalism as a fundamental cause of today’s environmental crisis, in particular the thirst for profit and the capitalist mode of production.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Islamic Aesthetics: An IntroductionSulejman BostoIslamic Aesthetics: An Introduction. By Oliver Leaman. Edinburgh: Edinburgh University Press. Pp. 216. Hardcover £55.00. Paper £16.99.IIf Islamic Aesthetics: An Introduction by Oliver Leaman falls into your hands,1 you may well find it hard to curb your curiosity and resist the challenge, given that "Islamic [End Page 502] topics" are so much in the forefront these days, especially in relation to (...) global politics, but no less in the widely diverse cultural, theological, philosophical, sociological, and other fields of strictly academic interest. With this conjuncture—along with the inflationary interest of the market in everyday politics and journalism, which is shaped by the crisis that has engulfed the world and the globalization of discord, by ideological conflicts and clashing worldviews, by the economic and political struggle for dominance and power, and by the simplifications resorted to by the media culture of today as it promotes a new type of instant, fast-generated, and easily digested knowledge—issues are frequently vulgarized, reducing serious, unresolved questions of understanding cultures and civilizations to the superficial discourse of stereotypes and prejudices and their manipulation in and by everyday politics.The counter or alternative to this conjuncture and its mundane political motives, which are highly diverse and often marked by opposing interests, ought to be an entirely new cognitive and hermeneutic strategy designed, with regard to the sociocultural and spiritual sciences falling within the term humaniora, both to ensure academic objectivity and methodological dependability and to further a nonviolent hermeneutic openness to the Other—the existential, social, and historical connections and interactions between individuals, societies, cultures, knowledge, belief, and so forth—in which our human lives run their course. This hermeneutic need, however, is not convertible with the new and mutually contradictory developments in globalization—to the extent that globalization means not merely interconnection and political, technological, and economic standardization, but also a leveling down designed to obliterate difference and lead to bland uniformity. To the contrary, this hermeneutic does not mean aspiring to eradicate differences, but rather necessarily involves a dialectic of recognition based on the premise of a nonviolent will for understanding and entente. What is needed, in fact, is a new culture of mutual recognition, for which neither mere spontaneous sympathy for today's much-vaunted "dialogue" nor the moralistic incantations by which public discourse pays lip service to it will be sufficient. Such a culture demands the ability critically to reassess established orders of knowledge, a critique of prevailing clichés and stereotypes, and a positive, systematic knowledge of and familiarity with the material being presented and discussed. In other words, a culture of recognition inevitably presupposes a culture of knowledge, from which alone one may expect cognition, exchange, understanding, and concord.Clearly, knowledge acquired in the domain of historical, cultural, spiritual, or humanist studies, the domain of the social sciences, is not of the same nature as the positivism and objectivism of the natural sciences, nor does it share the latter's universality, since matters concerning our past existence and our creations and inventions, with their historical mutability and temporal nature, their historical, social, or cultural relativity, are resistant to absolute objectivization and reduction to the cognitive norm of unambiguity. If the hermeneutic task, in its encounter with the current historical material of human thought and formation, is faced with the dangers of an adverse, relativistic infinity in which everything is convertible with [End Page 503] everything else, then, in the absence of a uniform criterion of truth and knowledge and its purposes, one must conclude that "unity of sense" or "unity of meaning" is impossible. Despite this danger, the hermeneutic experience—with, as its basis, the unity of experience of understanding to be found in the postulate of human historicality and finitude, which suggests to us the bond between us in the open human "communication through historical time"—invokes the indispensable openness and free flow of the most diverse human expressions, works, and meaningful acts, in which people in their diverse historical groupings and circumstances, social environments and differing experiences, and languages and cultures meet in the same historical, existential play—the transformation of primal chaos into... (shrink)

This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...) author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision—and what this book is about. (shrink)

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

The brain constructs within itself an understanding of its surround which constitutes its own world. This is described as its Double in the frame of the dissipative quantum model of brain, where the perception-action arc in the Merleau-Ponty’s phenomenology of perception finds its formal description. In the dialog with the Double, the continuous attempt to reach the equilibrium shows that the real goal pursued by the brain activity is the aesthetical experience, the most harmonious “to-be-in-the-world” reached through reciprocal actions, the (...) aesthetical dimension characterized by the “pleasure” of the perception. Aesthetical pleasure unavoidably implies disclosure, to manifest “signs”, artistic communication. An interpersonal, collective level of consciousness then arises, a larger stage where the actors are mutually dependent. The coherent structure of the brain background state manifests itself in the auto-similarity properties of fractal structures. These are observed to occur also in a large number of natural phenomena and systems. The conception of Nature divided in separated domains is replaced by the vision of Nature unified by laws of form implied by the underlying quantum dynamics of the coherent vacuum, an integrated ecological vision. (shrink)

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

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language (...) the most important topics within feminist aesthetics: * Who is an artist and why are there so few women painters? * Art, pleasure and beauty * Music, literature and painting * The role of gender in taste and food * What is art and who is an artist? * Disgust and the sublime Each chapter discusses important topics and thinkers within art and examines the role gender plays in our understanding of them. These topics include creativity, genius and the appreciation of art, and thinkers from Plato, Kant, and Hume to Luce Irigaray and Julia Kristeva. Also included in the book are illustrations from Gauguin and Hogarth to Cindy Sherman and Nancy Spero to clarify and help introduce often difficult concepts. Each chapter concludes with a summary and further reading and there is an extensive annotated bibliography. Carolyn Korsmeyer's style is refreshing and accessible, making the book suitable for students of philosophy, gender studies, visual studies and art theory, as well as anyone interested in the impact of gender on theories of art. (shrink)

Aesthetics is regarded, traditionally, as an aspect of philosophy. Arthur Edwards' approach is different. Ignoring philosophy, he points out that any work of art is devised in the mind of the artist and interpreted through the mind of the beholder and the object must therefore constitute a device of communication between these two minds. In this agreeably written, fully illustrated and constantly fascinating study he explores the implications of this idea, remembering that both artist and experiencer may be of (...) any culture. (We can respond, granted a degree of familiarity, to works produced by artists from cultures as different from our own as those of a Palaeolithic cave man, an Aztec priest, a West African wood-carver or a medieval monk.) The result is an astonishingly wide-ranging quest, one which extends from an investigation of communication theory to an account of the ecological concepts held by certain Amazonian tribes, from a demolition of Freud's model of the psyche to a study of the trigonometry of the Great Pyramid and from an account of the evolution of the human mind to a theory, albeit partial, concerning the nature of beauty. All are held within two complementary themes: the relevance to his enquiry of Jungs theory of the collective unconscious together with the archetypes of which it is composed, and the confirmation of these concepts by independent evidence. (shrink)

Novel ecosystems represent the challenge of the Anthropocene epoch on a local scale. In an age where human agency is the defining ecological factor, ecological discourse and practice finds itself in its own “non-analog” conditions. In this context, good work can be an important place for developing answers to these questions. The fields of ecological practice, such as restoration and management, with their characteristic orientation toward objectives, lack a substantive understanding of what good work entails. Consequently, these fields are unable (...) to articulate what distinguishes moral and immoral human interventions in the nonhuman world and they turn instead to ambiguous categories such as “natural,” “historic,” and “pre-disturbance” for benchmarks. In contrast, a substantive conception of good work can name and clarify the sorts of intentions and behaviors that characterize positive human intervention in ecosystems, rather than simply rejecting those that are apparently “unnatural” or “novel.” From a phenomenological perspective, good ecological work demands accountability not only for the kinds of ecosystems we create or restore, but ultimately for the meanings we construct for our world and for ourselves. (shrink)

In his earliest philosophical work, Moritz Schlick developed a proposal for rendering aesthetics into a field of empirical science. His 1908 book Lebensweisheit developed an evolutionary account of the emergence of both scientific knowledge and aesthetic feelings from play. This constitutes the framework of Schlick’s evolutionary psychological methodology for examining the origins of the aesthetic feeling of the beautiful he proposed in 1909. He defends his methodology by objecting to both experimental psychological and Darwinian reductionist accounts of aesthetics. (...) Having countered these approaches, Schlick applies Külpe’s psychological distinction between stimulus-feelings and idea-feelings to collapse the traditional philosophical opposition between the agreeable and the beautiful. Both types of feeling, Schlick argues, result from humans’ adaptation to their environment. Because of this adaptation, feelings that were once only stimuli for action can come to be enjoyed for their own sake. This thesis underlies Schlick’s 1908 argument that art, qua mimesis, is necessarily inferior to aesthetic feelings directed towards the environment. Part of Schlick’s justification for this view is that humans are, through a long evolutionary process, better adapted to their environment than to artworks. Schlick nevertheless concedes that mimetic art can involve ways of abstracting from the objects it copies to produce idealised regularities that are not found in the original. Schlick thus concludes that art teaches its audience how to perceive the world in this abstract and idealised manner. This type of environmental aesthetics constitutes a means for reaching Schlick’s utopian ecological vision of a future in which culture will become harmonised with nature. (shrink)

This article develops the idea of ‘ecological freedom’ from Aldo Leopold’s account of ecological relations in terms of the dual notions of the “freedom from want and fear” and the “freedom to make mistakes.” Through an analysis of Leopold’s thought on technology and civilization, I develop and argue for the claim that direct experience of ecological relations, or ecological freedom, is vital to meaningful human life. The absence of ecological freedom constitutes a form of ecological alienation, which is paired with (...) social alienation. Ecological freedom is then used as a way to understand environmental injustice and critique contemporary environmentalism. (shrink)

This article takes stock of the project of ecological democracy, a project that has been central to debates in Environmental Values since the late 1990s. Whilst we can identify quite distinct articulations of eco-democratic thinking emerging out of the fields of green political theory, postcolonial/feminist political ecology and science studies/radical geography, it is argued that these discussions have reached something of an impasse of late following the rise of climate scepticism, authoritarian populisms and technocratic eco-modernisms. Resurgent eco-authoritarian impulses and the (...) hankering for a ‘green leviathan’, a climate Lenin or a ‘dictatorship of the sustainment’ to resolve our climate crisis make it more important than ever to affirm the need for just, rapid and democratic post-carbon transitions. The article goes on to outline how emerging discussions in radical design studies focused on redirective practice in conjunction with a revived eco-socialist focus on labour-focused political ecologies might open up different possibilities for a materialist re-grounding of ecodemocratic discussions. It is suggested that a political ecology of design embedded in public institutions, the workplace and civil society could possibleyreground a more substantive vision of ecological democracy but also allow us to think about the forms of creative labour that could drive the just transition. (shrink)