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  1. María José Alcaraz León (2013). Aesthetic Insight: The Aesthetic Value of Damaged Environments. Estetika 50 (2):169-186.
    In this article I start by assuming that positive aesthetic experiences of damaged nature are possible and I argue for the idea that the aesthetic pleasure derived from that contemplation might reveal something of the environment’s overall character. I hope to show that positive aesthetic experiences sometimes help to promote emotional attitudes that can lead to insight into the configuration of other non-aesthetic attitudes. In order to do so, I critically appeal to some of the thoughts Kant articulated about the (...)
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  2. By Allen Carlson (2005). Budd and Brady on the Aesthetics of Nature. [REVIEW] Philosophical Quarterly 55 (218):106–113.
    This essay is a critical notice of Malcolm Budd's _The Aesthetics of Nature (Oxford, 2002) and Emily Brady's _Aesthetics of the Natural Environment (Edinburgh, 2003). I argue that, although each of the volumes makes an important contribution to our understanding of the aesthetic experience of nature, the accounts of aesthetic appreciation of nature that are developed by Budd and Brady are each somewhat defective in that neither grants an adequate role to knowledge in such appreciation, and specifically to scientific knowledge.
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  3. Jane Amidon (2001). Radical Landscapes Reinventing Outdoor Space. Monograph Collection (Matt - Pseudo).
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  4. Jay Appleton (1994). How I Made the World Shaping a View of Landscape.
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  5. Sven Arntzen & Emily Brady (eds.) (2008). Humans in the Land: The Ethics and Aesthetics of the Cultural Landscape. Unipub.
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  6. Rosario Assunto (1973). Il Paesaggio E L'Estetica. Giannini.
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  7. John D. Barrow (2005). The Artful Universe Expanded. Oxford University Press.
    Our love of art, writes John Barrow, is the end product of millions of years of evolution. How we react to a beautiful painting or symphony draws upon instincts laid down long before humans existed. Now, in this enhanced edition of the highly popular The Artful Universe, Barrow further explores the close ties between our aesthetic appreciation and the basic nature of the Universe. Barrow argues that the laws of the Universe have imprinted themselves upon our thoughts and actions in (...)
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  8. John D. Barrow (1995). The Artful Universe. Oxford University Press.
    Our likes and dislikes--our senses and sensibilities--did not fall ready-made from the sky, argues internationally acclaimed author John D. Barrow. We know we enjoy a beautiful painting or a passionate symphony, but what we don't necessarily understand is that these experiences conjure up latent instincts laid down and perpetuated over millions of years. Now, in The Artful Universe, Barrow explores the close ties between our aesthetic appreciation and the basic nature of the Universe, challenging the commonly held view that our (...)
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  9. Mario Bédard (ed.) (2009). Le Paysage, Un Projet Politique. Presses de l'Université du Québec.
    Poser ces questions, est-il soutenu dans ce recueil qui explore les référents culturels et les imaginaires paysagers issus de l'histoire, des pratiques d'aménagement et des politiques du paysage au Canada et en Europe, n'est-ce pas se ...
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  10. A. Berleant (2013). The Art in Knowing a Landscape. Diogenes 59 (1-2):52-62.
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  11. Alberto Bertagna (2011). The Landscape of Waste. Skira.
    The first book ever published to survey waste as a building material. Focusing on the projects, this book gives readers the tools they need to grasp the language and forms of a new architectural language and offers scientific and non-biased overviews to ensure credibility in the environmental science and engineering communities.
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  12. Alberto Bertagna (ed.) (2010). Paesaggi Fatti Ad Arte. Quodlibet.
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  13. Emily Brady (2003). Aesthetics of the Natural Environment. University of Alabama Press.
    Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...
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  14. Franco Brevini (2013). L'invenzione Della Natura Selvaggia: Storia di Un'idea Dal Xviii Secolo a Oggi. Bollati Boringhieri.
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  15. M. Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part 1: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.
  16. Malcolm Budd (2006). Objectivity and the Aesthetic Value of Nature: Reply to Parsons. British Journal of Aesthetics 46 (3):267-273.
    The Aesthetic Appreciation of Nature I advance a view of the aesthetic value of nature that Glenn Parsons seeks to contest. Here I attempt to show three things. The first is that his critique of my view of the aesthetic value of a natural thing is malfounded. The second is that his proposed alternative, which is intended to vindicate the claim to objectivity of certain judgements of the aesthetic value of a natural thing, is unconvincing. And the third is that, (...)
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  17. Malcolm Budd (2002). The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature. Oxford University Press.
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...)
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  18. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: Natural Beauty. British Journal of Aesthetics 38 (1):1-18.
  19. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature Part III: The Sublime in Nature. British Journal of Aesthetics 38 (3):233-250.
  20. Malcolm Budd (1996). The Aesthetic Appreciation of Nature. British Journal of Aesthetics 36 (3):207-222.
    The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...)
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  21. Malcom Budd (2000). The Aesthetics of Nature. Proceedings of the Aristotelian Society 100 (2):137–157.
    I begin by demonstrating the inadequacy of the idea that the aesthetic appreciation of nature should be understood as the appreciation of nature as if it were art. This leads to a consideration of three theses: (i) from the aesthetic point of view natural items should be appreciated under concepts of the natural things or phenomena they are, (ii) what aesthetic properties a natural item really possesses is determined by the right categories of nature to experience the item as falling (...)
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  22. Malcom Budd (2000). VII—The Aesthetics of Nature. Proceedings of the Aristotelian Society 100 (2):137-157.
    I begin by demonstrating the inadequacy of the idea that the aesthetic appreciation of nature should be understood as the appreciation of nature as if it were art. This leads to a consideration of three theses: from the aesthetic point of view natural items should be appreciated under concepts of the natural things or phenomena they are, what aesthetic properties a natural item really possesses is determined by the right categories of nature to experience the item as falling under, and (...)
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  23. Sara Cannizzaro (2009). “The Line of Beauty”. In Leonard Sbrocchi & John Deely (eds.), Semiotics. Legas Publishing 849-857.
    There seems to be a relation or some sort of 'unity' between man's works and the spontaneously occurring works produced by nature such as shells, nests, horns and so on. To use Bertalanffy's term for describing common properties of objects or systems (1973), nature's forms and human forms are isomorphic. For example, efficient structures typical of shells or plants such as spirals and radii, are very common archetypes that recur throughout the whole body of humans' architecture. A spiral form can (...)
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  24. Allen Carlson (2011). Aesthetic Appreciation of Nature and Environmentalism. Royal Institute of Philosophy Supplement 69:137-155.
    This article is a response to yuriko saito's "is there a correct aesthetic appreciation of nature?" (jae 18:4) which challenges the position on the aesthetic appreciation of nature that i develop in a series of recent articles. i here consider saito's arguments, concluding that they neither establish the correctness of a wide range of kinds of aesthetic appreciations of nature nor undercut the grounds for the prominence i grant to scientific considerations in such appreciation.
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  25. Allen Carlson (2005). Review: Budd and Brady on the Aesthetics of Nature. [REVIEW] Philosophical Quarterly 55 (218):106 - 113.
    This essay is a critical notice of Malcolm Budd's _The Aesthetics of Nature (Oxford, 2002) and Emily Brady's _Aesthetics of the Natural Environment (Edinburgh, 2003). I argue that, although each of the volumes makes an important contribution to our understanding of the aesthetic experience of nature, the accounts of aesthetic appreciation of nature that are developed by Budd and Brady are each somewhat defective in that neither grants an adequate role to knowledge in such appreciation, and specifically to scientific knowledge.
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  26. Allen Carlson (2002). Nature Appreciation and the Question of Aesthetic Relevance. In Arnold Berleant (ed.), The Environment and the Arts. Ashgate Press 61--74.
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  27. Allen Carlson (1995). Nature, Aesthetic Appreciation, and Knowledge. Journal of Aesthetics and Art Criticism 53 (4):393-400.
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  28. Allen Carlson (1979). Appreciation and the Natural Environment. Journal of Aesthetics and Art Criticism 37 (3):267-275.
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  29. Allen Carlson & Arnold Berleant (eds.) (2004). The Aesthetics of Natural Environments. Broadview Press.
    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 (...)
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  30. Ananda Kentish Coomaraswamy (1995). The Transformation of Nature in Art. Sterling Publishers Pvt. Ltd..
    The theory of art in Asia.--Meister Eckhart's view of art.--Reactions to art in India.--Aesthetic of the Śukranītsāra.--Paroksa.--Ábhása.--Origin and use of images in India.--Notes.--Sanskrit glossary.--List of Chinese characters.--Bibliography (p. [235]-245).
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  31. Ananda Kentish Coomaraswamy (1934). The Transformation Nature in Art. Harvard University Press.
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  32. David E. Cooper (2003). In Praise of Gardens. British Journal of Aesthetics 43 (2):101-113.
    The paper asks whether gardens may be objects of ‘serious’ (in Ronald Hepburn's sense) and distinctive appreciation. Dismissive attitudes to the possibility of such appreciation, including Hegel's, are rejected, as is the view—Kant's, for example—that garden appreciation is ‘factorizable’ into the modes appropriate for artworks and ‘raw’ nature respectively. That view entails that there is nothing distinctive in garden appreciation. Attention then turns to the idea that it is the representational/symbolic capacities of gardens that render them objects of distinctive appreciation. (...)
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  33. Vaughan Cornish (1944). The Beauties of Scenery a Geographical Survey. F. Muller Ltd.
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  34. Roger G. Courtenay (2010). My Kind of Countryside: Finding Design Principles in the Land. Distributed by the University of Chicago Press.
    Breathing ground -- Moving in nature -- Making buildings -- Modifying places -- My kind of countryside.
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  35. Sylvia Crowe (1988). The Pattern of Landscape. Packard Pub..
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  36. Paolo D'Angelo (2010). Filosofia Del Paesaggio. Quodlibet.
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  37. Johan De Smedt & Helen De Cruz (2013). Delighting in Natural Beauty: Joint Attention and the Phenomenology of Nature Aesthetics. European Journal for Philosophy of Religion 5 (4):167-186.
    Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...)
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  38. Bohdan Dziemidok (1988). Controversy About the Aesthetic Nature of Art. British Journal of Aesthetics 28 (1):1-17.
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  39. Marcia Muelder Eaton (1998). Fact and Fiction in the Aesthetic Appreciation of Nature. Journal of Aesthetics and Art Criticism 56 (2):149-156.
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  40. Bernhard Edmaier (2007). Patterns of the Earth. Phaidon.
    Bands -- Stripes -- Ripples -- Circles -- Spots -- Grains -- Forks -- Branches -- Webs -- Curves -- Ribbons -- Swirls -- Spikes -- Grids -- Cracks.
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  41. C. E. Emmer (2004). Representing Place. [REVIEW] Review of Metaphysics 57 (3):610-612.
  42. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  43. Ie Environmen (2008). Aesthetic Appreciation of the Natural. In Alex Neill & Aaron Ridley (eds.), Arguing About Art: Contemporary Philosophical Debates. Routledge 157.
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  44. Guang Ge (2007). Sheng Tai Wen Yi Yu Zhongguo Wen Yi Si Xiang de Xian Dai Zhuan Huan. Qi Lu Shu She.
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  45. R. Guerrero & C. Aura (eds.) (2009). Paisajes de la Modernidad En Venezuela (1811-1960). Universidad de Los Andes, Consejo de Publicaciones.
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  46. Andy Hamilton (2001). Aesthetics and the Environmen: The Appreciation of Nature, Art and Architecture. British Journal of Aesthetics 41 (4):444-446.
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  47. Gary D. Hampe (1974). Water-Related Aesthetic Preferences of Wyoming Residents. University of Wyoming, Water Resources Research Institute.
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  48. Ronald W. Hepburn (1963). Aesthetic Appreciation of Nature. British Journal of Aesthetics 3 (3):195-209.
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  49. Susan Herrington (2009). On Landscapes. Routledge.
    There is no escaping landscape: it's everywhere and part of everyone's life. Landscapes have received much less attention in aesthetics than those arts we can choose to ignore, such as painting or music – but they can tell us a lot about the ethical and aesthetic values of the societies that produce them. Drawing on examples from a wide range of landscapes from around the world and throughout history, Susan Herrington considers the ways landscapes can affect our emotions, our imaginations, (...)
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  50. Thomas Heyd (2001). Aesthetic Appreciation and the Many Stories About Nature. British Journal of Aesthetics 41 (2):125-137.
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