What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like (...) to do this through a re-weaving of words and ideas to propose a new fabric for understanding the relation of art, landscape, and perceiver. The threads I want to combine are four: art, environment, landscape, and knowing in the sense of appreciation. I hope to show how the loose-knit texture they form can be spread over a particular landscape in such a way that the landscape will fill the fabric and the fabric integrate the landscape. I realize that I may have over-worked my metaphor, so I shall leave it now, but I hope that it can serve as a guiding image for the relation and application of the ideas I shall be working with. (shrink)

: Green consumerism is on the rise in America, but its environmental effects are contested. Does green marketing contribute to the greening of American consciousness, or does it encourage corporate greenwashing? This tenuous ethical position means that eco-marketers must carefully frame their environmental products in a way that appeals to consumers with environmental ethics and buyers who consider natural products as well as conventional items. Thus, eco-marketing constructs a complicated ethical identity for the green consumer. Environmentally aware individuals are already (...) guided by their personal ethics. In trying to attract new consumers, environmentally minded businesses attach an aesthetic quality to environmental goods. In an era where environmentalism is increasingly hip, what are the implications for an environmental ethics infused with a sense of aesthetics? This article analyzes the promotional materials of three companies that advertise their environmental consciousness: Burt's Bee's Inc., Tom's of Maine, Inc., and The Body Shop Inc. Responding to an increasing online shopping market, these companies make their promotional and marketing materials available online, and these web-based materials replicate their printed catalogs and indoor advertisements. As part of selling products to consumers based on a set of ideological values, these companies employ two specific discursive strategies to sell their products: they create enhanced notions of beauty by emphasizing the performance of their natural products, and thus infuse green consumerism with a unique environmental aesthetic. They also convey ideas of health through community values, which in turn enhances notions of personal health to include ecological well-being. This article explicates the ethical implications of a personal natural care discourse for eco-marketing strategies, and the significance of a green consumer aesthetic for environmental consciousness in general. (shrink)

Green consumerism is on the rise in America, but its environmental effects are contested. Does green marketing contribute to the greening of American consciousness, or does it encourage corporate green washing? This tenuous ethical position means that eco-marketers must carefully frame their environmental products in a way that appeals to consumers with environmental ethics and buyers who consider natural products as well as conventional items. Thus, eco-marketing constructs a complicated ethical identity for the green consumer. Environmentally aware individuals are already (...) guided by their personal ethics. In trying to attract new consumers, environmentally minded businesses attach an aesthetic quality to environmental goods. In an era where environmentalism is increasingly hip, what are the implications for an environmental ethics infused with a sense of aesthetics? This article analyzes the promotional materials of three companies that advertise their environmental consciousness: Burt's Bee's Inc., Tom's of Maine, Inc., and The Body Shop Inc. Responding to an increasing online shopping market, these companies make their promotional and marketing materials available online, and these web-based materials replicate their printed catalogs and indoor advertisements. As part of selling products to consumers based on a set of ideological values, these companies employ two specific discursive strategies to sell their products: they create enhanced notions of beauty by emphasizing the performance of their natural products, and thus infuse green consumerism with a unique environmental aesthetic. They also convey ideas of health through community values, which in turn enhances notions of personal health to include ecological well-being. This article explicates the ethical implications of a personal natural care discourse for eco-marketing strategies, and the significance of a green consumer aesthetic for environmental consciousness in general. (shrink)

Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...) as well as by aestheticians. Scenic beauty provides a vivid test for the variability of these judgments. (shrink)

Izhajajoč iz hermenevtične fenomenologije Martina Heideggerja, ki pretresa ontološki status umetniških del in se osredotoča na njihov značaj »stvari«, da bi destruirala tradicionalni pomen umetnosti, trdim, da za estetiko vsakdanjosti lahko rečemo, da pripada postheidegerjevski nalogi ponovnega premisleka umetnosti in temeljev estetike. Privzemanje hermenevtičnega pristopa k umetnosti ima za estetiko dvojno posledico: na eni strani širi njen doseg, s tem ko jo razširi onstran območja lepe/visoke umetnosti k vsakdanjim predmetom in izkustvom, in, na drugi strani, meče novo luč na pomen (...) umetniških pojavov za življenje. Menim, da se in navezujeta na dejstvo, da je sama hermenevtika, razumljena kot proces interpretacije, temelj vseh človeških dejavnosti, kar pomeni, da človeška bitja eksistirajo toliko, kolikor pomen svojih življenj izvajajo iz predmetov in izkustev, s katerimi se srečujejo. (shrink)

This is the second section of an article (each section in subsequent regular issues of EPAT) that explores the concept of participation. Section I: Introduction and Early Perspectives grounds our exploration of participation and explores definitions and early perspectives of participation we have identified as ‘historically original’ and ‘philosophical.’ Section II: Participation as Engagement in Experience—An Aesthetics Perspective is a continuation of our conceptual exploration of participation that digs into the world of aesthetics. Finally, Section III: The Utilitarian Perspective and (...) Conclusion focuses on utilitarian meanings of participation from political and international development perspectives. Collectively, these sections focus on the meaning and deconstruction of the term, participation. By bringing attention to gradations in meaning, we hope to raise awareness of the superficial use of participation that is reflected in much of the educational literature and highlight possibilities that more thoughtfully formulated and consciously chosen meanings of participation could offer the field of education. (shrink)

This article is comprised of three sections (each in subsequent regular issues of EPAT) that explore the concept of participation. Section I: Introduction and Early Perspectives grounds our exploration of participation and explores definitions and early perspectives of participation we have identified as ‘historically original’ and ‘philosophical’. Section II: Participation as Engagement in Experience—An Aesthetics Perspective is a continuation of our conceptual exploration of participation that digs into the world of aesthetics. Finally, Section III: The Utilitarian Perspective and Conclusion focuses (...) on utilitarian meanings of participation from political and international development perspectives. Collectively, these sections focus on the meaning and deconstruction of the term, participation. By bringing attention to gradations in meaning, we hope to raise awareness of the superficial use of participation that is reflected in much of the educational literature and highlight possibilities that more thoughtfully formulated and consciously chosen meanings of participation could offer the field of education. (shrink)