Many people today glorify wild nature. This attitude is diametrically opposed to the denigration of wild nature that was common in the seventeenth century. One of the most significant initiators of the modern revaluation of nature was Anthony Ashley Cooper, the third Earl of Shaftesbury. I elucidate here Shaftesbury’s pivotal view of nature. I show how that view emerged as Shaftesbury’s solution to a problem he took to be of the deepest philosophical and personal importance: the (...) problem of how worship of God can be both transportingly emotional and entirely rational. In section 1 I sketch the denigration of wild nature in two of Shaftesbury’s predecessors: Burnet and Locke. I next turn to Shaftesbury’s problem, describing in section 2 the love of God he aspired to and in section 3 his commitment to rational religion. I then explain Shaftesbury’s solution, describing in section 4 his view of beauty in general and in section 5 his view of the beauty of nature. (shrink)

In this essay I wish to discuss the theme of wisdom from within the field of aesthetics and to present the aesthetics of Japanese flower art of ikebana, kadô, as an example. Concepts of nature, beauty and wisdom will be related to each other: we have plenty of knowledge of nature, but we need deep wisdom to understand nature of beauty, and spiritual wisdom to see and enjoy beauty of nature. Through flower art (...) of ikebana I search to discover the essence of beauty of nature, a path to wisdom within the saying “See beauty in nature, cultivate elegance in spirit”. (shrink)

Instances of natural beauty are widely regarded as counterexamples to practice-based theories of aesthetic value. They are not. To see that they are not, we require the correct account of natural beauty and the correct account of social practices.

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of (...) class='Hi'>beauty from one another as well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

Contemplative or "noetic" knowledge has traditionally been seen as the highest mode of understanding, a view that persists both in many non-Western cultures and in Eastern Christianity, where "theoria physike," or the illumined understanding of creation that follows the purification of the heart, is seen to provide deeper insights into nature than the discursive rationality modernity has used to dominate and conquer it. Working from texts in Eastern Orthodox philosophy and theology not widely known in the West, as well (...) as a variety of sources including mystics such as the Sufi Ibn 'Arabi, poets such as Basho, Traherne, Blake, Hölderlin, and Hopkins, and nature writers such as Muir, Thoreau, and Dillard, The Noetics of Nature challenges both the primacy of the natural sciences in environmental thought and the conventional view, first advanced by Lynn White, Jr., that Christian theology is somehow responsible for the environmental crisis. Instead, Foltz concludes that the ancient Christian view of creation as iconic its "holy beauty" manifesting the divine energies and constituting a primal mode of divine revelation offers the best prospect for the radical reversal that is needed in our relation to the natural environment. (shrink)

When we talk about natural beauty perhaps we think of the products or forces that we commonly associate with nature: rivers, birds, trees, the sky, the moon, the sun, and so on. That is, objects that, we assume, have not been generated by human technique such as chairs, computer tables or works of art. However, this presentation will approach a non-objectifying perspective of nature. Trying to return to Kant’s and Schiller’s interpretation of beauty, that of both (...) art and nature, I intend to take a step back and remain in the consideration of the judgment of taste itself, parenthesizing to which object it refers. From the perspectives of the Husserlian concept of modification of neutrality and the Kantian notion of disinterestedness, we will consider that the concept of nature in Kant’s and Schiller’s aesthetics does not refer to the empirical objects that we commonly associate with nature but to a specific mode of appearing exclusive to the aesthetic dimension and different from that developed from the empirical sciences. Finally, we will see how these considerations can be transferred to other phenomenologies of art such as Dufrenne’s. (shrink)

What is it that we encountered with in our aesthetic experience of natural beauty? Does nature “figuratively speaks to us in its beautiful forms”, 2 to use Kant’s phrasing in the third Critique, or is it merely our way of interpreting nature whether this be its purpose or not? Kant does not answer these questions directly. Rather, he leaves the ambiguity around them by his repeated use of terminology of ciphers when it comes to our aesthetic experience (...) in nature. This paper examines Kant’s terminology of ciphers in the Critique of Judgment and demonstrate through it the intimate link aesthetic experience in natural beauty has with human morality. A link whose culmination point is embodied in the representation of beauty as a symbol of morality. (shrink)

Ronald Moore's new book Natural Beauty: A Theory of Aesthetics Beyond the Arts seeks to offer up an account of beauty in nature rather than the beauty of nature. Moore claims his is a syncretic theory. That is, it combines the best parts of competing theories into a single comprehensive account of, in this case, our judgments of natural beauty. The syncretic impulse is a common one in philosophy. Seeing many theories, each with some (...) strong points yet none successful overall, a natural solution is to simply glom them all together. But does this work? Are we entitled to pick and choose in this manner, taking what we like but leaving behind the preconceptions to which each theory was moored? And is the resulting supertheory consistent and coherent? I will use Moore's book as a test case for some of these theoretical questions. I identify some 'syncretic sites' in Moore's theory to see whether his method passes muster. (shrink)

In the aftermath of Kant, that is, with Schelling and Hegel, the natural beautiful is no longer a major concern of aesthetic theory. According to Adorno, an evil star hangs over the theory of natural beauty. The essay examines the reasons for this neglect of the beautiful of nature by confronting Kant's account of natural beauty with Hegel's theory about the fundamental deficiencies of beauty in nature and locates them in the essential indeterminacy of everything (...) that belongs to nature. Inquiring into what Adorno seeks to achieve by playing Kant and Hegel off against one another, it is shown that this indeterminacy of nature is both an index of nature's interconnectedness with mythical violence and the promise of a freedom from myth. (shrink)

I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .

Since our earliest hominid ancestors, humans have found nature beautiful, feeling a sense of the numinous in its presence. However, evolutionary biology has been unsuccessful in providing a satisfactory explanation for this phenomenon in terms of natural selection pressures. Firstly, the article takes a walk down anthropological memory lane, tracing the origins of why humans find nature beautiful, giving rise to religious and non-religious sensations. Secondly, the article explores why traditional natural selection mechanisms do not support a bio-aesthetic (...) model that attempts to reduce beauty to physiological utilitarian value. Thirdly, the article offers an alternative explanation relying on the ecotheology of Jonathan Edwards, framing the love of a communicative God who creates nature’s ‘secondary beauty’ to mirror God’s own ‘primary beauty’. As humans encounter beauty in nature, they are receiving the outpouring of grace to support human thriving by the divine action of the Holy Spirit. Finally, the article offers a Christological ecospirituality drawing on the life and teachings of Jesus of Nazareth, who loved nature and its innate wisdom. Through his spiritual practices of prayer and teaching, whether at the seaside, in gardens or on the mountainside, he offers a renewed human love affair with nature and a deep contemplation of its beauty that revives the soul. A recovered love of nature, and our birthright interconnection with all creatures, open a new conversation in the present climate catastrophe that holds hope for the flourishing of humans, all its creatures and our ecological home. Contribution: This article offers a hopeful conversation in the current climate catastrophe that implores humans to recover their ancient love of, and interdependence with, the beauty of the natural world. This is viewed as communication of God’s grace in a Christology of Nature towards the flourishing of humans, the earth and all its creatures. (shrink)

How is the painter’s body related to the process of making a beautiful brush stroke? Those interested in this question will benefit from Jianping Gao’s findings, in The Expressive Act in Chinese Painting, a book that presents the aesthetic ideas of Chinese literati painters and art critics. Gao’s assigns five features to the actual practice of painting that results in the making of brush strokes that literati audiences would call “naturally beautiful.” These five are the interaction of idea and body, (...) the concentration on paper, the suspension of the perception of natural objects, the emergence of a “pure self”, and the intersection of self with nature. I begin with the practice of concentration on paper and find that the literati painter observes the whole of the visible paper. After that, I introduce Maurice Merleau-Ponty’s late writings on the flesh of the body that belongs to the working painter. By developing the idea of an innate, interior whole of visibility, which persists through fleeting perceptions and Gestalts, Merleau-Ponty offers us a way to describe the individual painter’s innate corporeality, the transformation of thepainter, and intimate contact with nature. With Merleau-Ponty’s term “flesh of the body,” I return to interpret the five features of the literati process of making naturally beautiful strokes. I conclude that the literati writings help to reshape present-day aesthetics, and I note the philosophical language for a non-physical corporeality helps us appreciate the ideas of Chinese literati painters. (shrink)

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs (...) in wilderness, in gardens, and in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (shrink)

Th. W. Adorno’s aesthetics represents a comprehensive reflection on a number of important topics in aesthetic research. Among them is the issue of the aesthetic experience generated by the beauty of nature. In the perspective of Adorno’s theory, the experience of natural beauty is described as a quality that forms in an immanent relation to the historical and social reality of humans. In the first place, one can observe the fundamental dependence of natural beauty on the (...) degree of social domination of nature. By failing to reflect on this social mediation, the experience of natural beauty appears to be immediate and creates the deceptive fantasy of the primordial form of nature. At the same time, however, Adorno uncovers a positive potential in the experience of natural beauty – it lies in the ability to transcend a power-based subjectivity that reduces reality to the substrate of the domination. By means of the transcendence of subjectivity, the experience of natural beauty opens up the possibility to perceive and approach reality in the unreduced fullness of its qualities while also anticipating a reconciliation of man with nature in an allegorical way. The aim of my study is to describe the sketched aspects of the experience of natural beauty. (shrink)

This paper deals with beauty as we encounter it in Christian works of art. Three main points are argued: i) Beauty, as it appears in the Christian work of art, is an invitation to delight and gratitude; ii) Beauty, as we encounter it in the Christian work of art, asks of us both the deepening of discernment and the cultivation of desire; iii) Beauty, as it is manifested in the Christian work of art, is not created (...) by the artist but is bestowed as a gift of God. Firstly, beauty must be recognised as giving delight. In defending this claim, the paper argues against theories which identify beauty with pleasure, and which devalue or dismiss beauty based on this false identification. Further, beauty does not only give, but also – as gift – makes a claim upon us. Gratitude is the appropriate response to beauty’s gift. Secondly, beauty as manifested in beautiful particulars embedded in the material and cultural world requires discernment. Moreover, we must embody a real receptiveness to beauty – by becoming beautiful ourselves – through the cultivation of desire. A full response to beauty entails the reorientation of our vision as well as our volition towards the infinite beauty of God. Thirdly, though beauty is manifestly present in made-made objects, it does so and is so as a gift of God. This understanding is supported by emphasising the Trinitarian nature of beauty. It is proposed that beauty is best identified not with the Son but with the Holy Spirit. (shrink)

Digitalization reveals the world in new varieties and forms. This power to unveil not only transforms human outreach and actions, but also changes our conceptions; about whom we are, about our uses and about human horizons for sense-making. In this paper, I explore experience design and the aesthetic turn in contemporary research in human–computer interaction and interaction design. This rather recent interest in aesthetic experience is in my view a move away from a view of digitalization as instances of objects (...) aligned in networks, with certain features, qualities and properties, towards an understanding of digitalization as a relation to the world, to itself, and to what it means to be human (e.g. Technology and the character of contemporary life. A philosophical inquiry. The University of Chicago Press, Chicago, 1984, Holding on to reality. The nature of information at the turn of the millennium. The University of Chicago Press, Chicago, 1999; Questioning technology. Routledge, New York, 1999; The question concerning technology and other essays. Harper and Row, New York, 1977; Technology and the lifeworld, from garden to earth. Indiana University Press, Bloomington, 1990). As such my attempt in this text is to outline a conceptual account concerning what it might mean to designate digitalization as experienced rather than as what we traditionally think of it—as a cause of what we perceive. The paper is based on some previous work suggesting that a focus on the beauty of digitalization (i.e. the beast) entails the possibility to investigate ambiguous meanings of digitalization, meanings that are intrinsic to digitalization but have so far received little or no attention. My suggestion is that there are aesthetic and/or sublime dimensions inherent in digitalization that involves the realization of meaning that are becoming increasingly important in both use and design of digital materials. Hence, the particular focus on aesthetics as implied by the title of this text refers to a pervasive quality harbouring meaning that through a phenomenological lens could be regarded as the material basis of digitalization. The paper concludes that it is crucial to conduct more thorough studies of the relationship between aesthetics and digitalization if we are truly interested in exploring the potential of digitalization in our lives. (shrink)

The article considers the changing status of natural beauty in the twentieth century. This situation is presented with reference to extreme changes of interest connected with this field of value. The article begins by exploring some current theoretical presuppositions concerning this field . The focus of the following sections is on a pioneering text, which ended a long period of indifference to natural beauty – namely, Ronald W. Hepburn’s “Contemporary Aesthetics and the Neglect of Natural Beauty” . (...) This famous essay is considered in relation to both the general problem of the distinction and the subsequent development of models of the aesthetic appreciation of nature in the second half of the twentieth century , which were profoundly anticipated by Hepburn. (shrink)

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

Argues that, to make progress within environmental ethics, philosophers must explicitly engage in environmental metaphysics.

The idea of elegance in science is not necessarily a familiar one, but it is an important one. The use of the term is perhaps most clear-cut in mathematics - the elegant proof - and this is where Ian Glynn begins his exploration. Scientists often share a sense of admiration and excitement on hearing of an elegant solution to a problem, an elegant theory, or an elegant experiment. The idea of elegance may seem strange in a field of endeavour that (...) prides itself in its objectivity, but only if science is regarded as a dull, dry activity of counting and measuring. It is, of course, far more than that, and elegance is a fundamental aspect of the beauty and imagination involved in scientific activity. Ian Glynn, a distinguished scientist, selects historical examples from a range of sciences to draw out the principles of science, including Kepler's Laws, the experiments that demonstrated the nature of heat, and the action of nerves, and of course the several extraordinary episodes that led to Watson and Crick's discovery of the structure of DNA. With a highly readable selection of inspiring episodes highlighting the role of beauty and simplicity in the sciences, the book also relates to important philosophical issues of inference, and Glynn ends by warning us not to rely on beauty and simplicity alone - even the most elegant explanation can be wrong. (shrink)

Flipping convention on its head, Eric Dietrich argues that science uncovers awe-inspiring, enduring mysteries, while religion, regarded as the source for such mysteries, is a biological phenomenon. Just like spoken language, Dietrich shows that religion is an evolutionary adaptation. Science is the source of perplexing yet beautiful mysteries, however natural the search for answers may be to human existence. _Excellent Beauty_ undoes our misconception of scientific inquiry as an executioner of beauty, making the case that science has won the (...) battle with religion so thoroughly it can now explain why religion persists. The book also draws deep lessons for human flourishing from the very existence of scientific mysteries. It is these latter wonderful, completely _public_ truths that constitute some strangeness in the proportion, revealing a universe worthy of awe and wonder. (shrink)

it is common to praise the beauty of theories, the elegance of proofs, and the pleasing simplicity of explanations. We may admire, for example, the beauty of Einstein’s theory of general relativity, the simplicity of Darwin’s idea of natural selection, and the elegance of a geometrical proof of Pythagoras’s theorem. Aesthetic judgments such as these have much currency among scientists, and they are employed in the search for knowledge more broadly. But while the use of aesthetic judgments in (...) science is widespread, it is not uncontroversial.1 On one side, such judgments are often inspired by the Platonic vision that beauty and truth are ultimately one. As Henri Poincaré saw it, science is the “disinterested pursuit... (shrink)

In this paper, I present a piece of natural theology, whose pro tanto conclusion is the existence of god-the-artist, that is a lower case “g” god, a creator who creates for the sake of beauty, but who is not worthy of worship, a god who can be admired but should not be loved. I then consider some only partially successful responses to this dismal conclusion. Finally, I show to reconcile the idea of a god motivated by love of (...) class='Hi'>beauty with the religious tradition of an upper case “G” God, who is not merely to be worshiped but loves us and invites a loving response. (shrink)

The article argues against various proposals to treat the term 'beauty' as standing for a single, generic concept of aesthetic value, which has application both to natural objects and to art. It argues that in Kant's aesthetic theory 'beauty' must be treated as ambiguous because in the case of art, but not in that of nature, part of beauty is the expession of aesthetic ideas. This gives rise to the dilemma: either beauty is always the (...) ultimate aesthetic value of any thing, in which case there is no single account of beauty to be had that covers both art and nature, or being beautiful is the same for both art and nature, but must constitute only part of the aesthetic value of art. It is argued that certain late twentieth century theories of beauty do not overcome this problem. (shrink)

> The Japanese have a word which summarizes all the best in Japanese life, yet it has no explanation and cannot be translated. It is the word shibui, and the best approximation to its meaning is 'acerbic good taste'.—James A. Michener in Iberia The austere beauty of lacquerware, the wizened lines and thickened trunk of a 100-year-old bonsai, the veiled beauty of murky jade—what do all these have in common? These are the qualities of shibumi, a Japanese aesthetic (...) defined by the seven characteristics described by Dr Yanagi Soetsu1 in The Unknown Craftsman: simplicity, implicity, modesty, naturalness, everydayness, imperfection, silence. Derived from the root word shibui, literally meaning ‘bitter’, the antonym of amai, for sweet—the etymology of shibusa encapsulates the jolting acerbity of one inadvertently sinking her teeth into an unripe persimmon; paradoxically described as a moment of inward transcendence. Quite distinct from wabi-sabi—while pottery and stoneware may be embraced for organic lines reflecting naturalness and imperfections as an aesthetic; within the distillation of shibumi, beyond the asymmetrical and flawed, lies an appreciation of ‘beauty with inner implications’ that ‘allows depth of feeling to be visible through spare surface design thereby manifesting the invisible core that …. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] who follows the debates between religion and science will be instantly baited by the subject of this book and by the seductive terms of its title. This is a book about a well-worn topic which proposes to enter it through a little-worn door, the notion of mystery, for which the title’s ‘excellent beauty’ (...) turns out to be a more resplendent synonym. Setting out its stall at the heart of longstanding questions about the legitimacy of religious belief, its brief is to reclaim the notion of mystery in ways calculated to antagonize many of the interested parties. Pace a common religious conceit, mystery is not the exclusive preserve of religion. Pace a widespread scientific stance, mystery is not merely a shadowy station on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 301-305 [Access article in PDF] The Beauty of Psychotherapy R. D. Hinshelwood Keywords awe, psychotherapy, representation, self-esteem The Enlightenment was devoted to clear uncontaminated reason; its success has given us the terrific achievements of science and technology. However, it has bequeathed problems too. Untrammeled reason has led to the devaluing and exclusion of emotions. Emotions are irrational—self-deception, akrasia, and so on. They (...) were a problem for the eighteenth-century philosopher Kant and right through to the modern therapist Aaron Beck. Callender rightly looks around the edges of rationalist thought to see what can be said about the emotional and subjective side of mankind. He argues that there is more to the human mind than cognition. Something has been left out. What can be found to fill the gap?Callender has searched for the missing link that might complete our view of human nature. And he came back with aesthetics. Meaning The Enlightenment failing is writ large for therapists who are confronted with people who feel things. So we need to ask what place the emotions have in understanding the nature of man? It is not a hypothetical question, but a very practical one for a therapist. Emotions, Callender says, and most people would agree with him, are what gives meaning to life, a sense of purpose in living, even an ill-defined or delusional purpose.He presents Kant's description of aesthetics. Aesthetic judgements have a number of features, the most enigmatic and perhaps profound is a "purposiveness without purpose." A work of art, say a portrait, may have a purpose insofar as it represents a person for his aggrandizement or for his descendents through many generations, but the aesthetic quality does not come from that purpose. The aesthetic purpose involves a different set of judgements. They are about the painting as a piece of art in itself. If it is possible to compare this kind of aesthetic judgement with a judgement of a person's life, then I find myself reminded of Wollheim's definition of a person: The simplest way of putting the matter, which is not to be taken as a metaphysical claim, is this: There are persons, they exist; persons lead lives; and as a result, in consequence—in consequence that is, of the way they do it—there are lives, of which those who lead them may, for instance, be proud, or feel ashamed. So there is a thing, and there is a process, and there is a product. (Wollheim 1984, 2) Although many things do not lead lives, we do. And our lives have a process and a product. Like an aesthetic product, our lives have a sense of emotional meaning, without it having a clear purpose.Aesthetic judgements are therefore of a particular and somewhat peculiar kind. They judges talent for producing "that for which no determinate [End Page 301] rules can be given," as the paper quotes Kant. Other kinds of judgements do have determinate rules. First are empirical judgements for getting practical things done; and moral judgements for assessing ethical good from bad. Aesthetic beauty does not have clear rules, although many systems of rules have been proposed starting with the rules of perspective as they were laid out by renaissance painters, through to systems of color, such as that proposed by Paul Klee, once color was correlated with electromagnetic wavelengths. However, artists have always kept one jump ahead and evaded imprisonment in codified rules. So too it is with leading a life, perhaps. The really creative life is not lead according to rules. The art of life is to live meaningfully without simply running along tramlines. Although moral conduct and the practicalities of life remain significant, perhaps leading a life implies simply a "flare for living." Representation Of these three kinds of judgements that a mind makes, two do have sets of rules. Only one based on rationality, empirical evidence, and reason. Reason judges what can be done and achieved in the real physical world. It is about pragmatics and the usefulness of action. Moral judgements, about what... (shrink)