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  1. Engagement and Resonance: Two Ways Out From Disinterestedness and Alienation.Mădălina Diaconu - 2017 - ESPES 6 (2):40-49.
    Arnold Berleant’s enlargement of the scope of aesthetics to environments and social relationships opens the way for associations with approaches from other human and social sciences. One possible term of comparison is Hartmut Rosa’s theory of modernity, which applies the concept of resonance to various fields, including nature and art. At the beginning, their aims appear to be different and their alternatives slightly different: engagement stresses the continuity between the embodied self and the world, whereas resonance is primarily based upon (...)
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  • Architecture of Movement.Katarzyna Nawrocka - 2017 - ESPES 6 (2):50-61.
    This paper describes the general concepts of Arnold Berleant's urban metaphors in order to use them as a background for presenting a different perspective on the aesthetics of engagement through the prism of contemporary dance strategies and design practices in architecture and urban planning.
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  • Aesthetic Appreciation of Nature and Environmentalism.Allen Carlson - 2011 - 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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  • ‘Line of Wreckage’: Towards a Postindustrial Environmental Aesthetics.Jonathan Maskit - 2007 - Ethics, Place and Environment 10 (3):323 – 337.
    Environmental aesthetics, largely because of its focus on 'natural' rather than artifactual environments, has ignored postindustrial sites. This article argues that this shortcoming stems from the nature-culture divide and that such sites ought to be considered by environmental aestheticians. Three forms of artistic engagement with postindustrial sites are explicated by looking at the work of Serra, Smithson, and others. It is argued that postindustrial art leads to a successively richer ability to see and thus think about such sites. Finally, a (...)
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  • Engaging Berleant: A Critical Look at Aesthetics and Environment: Variations on a Theme.Renee Conroy - 2007 - Ethics, Place and Environment 10 (2):217 – 244.
  • A Phenomenological “Aesthetics of Isolation” as Environmental Aesthetics for an Era of Ubiquitous Art.Matthew E. Gladden - 2018 - Polish Journal of Aesthetics (49):11-25.
    Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.
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