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The Aesthetics of Environment

Temple University Press (1995)

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  1. Aesthetic and Historical Values - Their Difference and Why It Matters.Levi Tenen - 2020 - Environmental Values 29 (5):519-535.
    Aesthetic and historical values are commonly distinguished from each other. Yet there has not been sustained discussion of what, precisely, differs between them. In fact, recent scholarship has focused on various ways in which the two are related. I argue, though, that historical value can differ in an interesting way from aesthetic value and that this difference may have significant implications for environmental preservation. In valuing something for its historical significance, it need not always be the case that there is (...)
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  • Cultural Ecosystem Services: A Critical Assessment.Simon P. James - 2015 - Ethics, Policy and Environment 18 (3):338-350.
    This paper is about the practice of evaluating ecosystems on the basis of the cultural services they provide. My first aim is to assess the various objections that have been made to this practice. My second is to argue that when particular places are integral to people’s lives, their value cannot be adequately conceived in terms of the provision of cultural ecosystem services. It follows, I conclude, that the ecosystem services framework can provide only a very limited account of the (...)
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  • A Politics of Forms.Nathalie Blanc & Jacques Lolive - unknown
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  • Wildness in the English Garden Tradition: A Reassessment of the Picturesque From Environmental Philosophy.Isis Brook - 2008 - Ethics and the Environment 13 (1):pp. 105-119.
    The picturesque is usually interpreted as an admiration of 'picture-like,' and thus inauthentic, nature. In contrast, this paper sets out an interpretation that is more in accord with the contemporary love of wildness. This paper will briefly cover some garden history in order to contextualize the discussion and proceed by reassessing the picturesque through the eighteenth century works of Price and Watelet. It will then identify six themes in their work (variety, intricacy, engagement, time, chance, and transition) and show that, (...)
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  • Exploring Ecological and Material Sensitivity Through Craft Practice in the Context of the Venice Lagoon.Riikka Latva-Somppi & Maarit Mäkelä - 2020 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 13 (1):31-46.
    This article discusses multisensorial aesthetic experience of environmental materiality via a craft process. The locally situated study investigates the interrelations of humans and environment through soil. In focus is how craft practitioners use their material sensitivity to reflect the idea of interdependency in the context of the contemporary environmental discourse. This is done through presenting an artistic research project in which craft is used to explore the human imprint in a particular geological environment, the Venice Lagoon. The case study Traces (...)
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  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
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  • The Aesthetics of the City–Image.Maria Popczyk - 2015 - Argument: Biannual Philosophical Journal 5 (2):373-386.
    In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the ‘image’; namely, an empirical approach and a phenomenological one. I am interested in what the city becomes when it is looked upon as an image and I (...)
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  • Reconsidering Scenic Beauty.Arnold Berleant - 2010 - Environmental Values 19 (3):335 - 350.
    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, (...)
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  • Vers une esthétique environnementale : le tournant pragmatiste.Nathalie Blanc & Jacques Lolive - 2009 - Natures Sciences Sociétés 17 (3):285-292.
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  • Contemporary Art and Environmental Aesthetics.Samantha Clark - 2010 - Environmental Values 19 (3):351-371.
    Aesthetic debates within contemporary art have been tangential to the debates in environmental aesthetics since the 1960s. I argue that these disciplines, having evolved separately in response to the limitations of traditional aesthetics, may now usefully inform each other. Firstly, the dematerialisation of art as the focus of aesthetic experience may have environmentally useful consequences. Secondly, Gablik's 'connective aesthetics ', like Berleant's ' aesthetics of engagement', folds aesthetic experience into the social as a kind of environmental aesthetics. Thirdly, contemporary art's (...)
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  • Environmentálne Angažované Umenie Ako Výzva Pre Carlsonovu Kognitívnu Environmentálnu Estetiku.Barbora Bakošová - 2013 - Espes 2 (2):23-29.
    In this paper I would like to deal with the question how environmentally engaged art can infirm Carlson's dualism between art and nature in his cognitive environmental aesthetics. I understand environmentally engaged art as a part of new tendencies in the second half of the 20th Century, when we can observe shift towards more conceptual and engaged art forms that leave the insides of galleries. This type of art projects are in opposition to Carlson's art-nature dichotomy. Equally, I would like (...)
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  • ¿ Nos enseña el arte de Richard Long a apreciar estéticamente la naturaleza?Marta Tafalla - 2010 - Enrahonar: Quaderns de Filosofía 45:155-172.
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  • Environmental Aesthetics and Public Environmental Philosophy.Katherine W. Robinson & Kevin C. Elliott - 2011 - Ethics, Policy and Environment 14 (2):175 - 191.
    We argue that environmental aesthetics, and specifically the concept of aesthetic integrity, should play a central role in a public environmental philosophy designed to communicate about environmental problems in an effective manner. After developing the concept of the ?aesthetic integrity? of the environment, we appeal to empirical research to show that it contributes significantly to people?s sense of place, which is, in turn, central to their well-being and motivational state. As a result, appealing to aesthetic integrity in policy contexts is (...)
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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.
  • The Framing Paradox.Ronald Moore - 2006 - Ethics, Place and Environment 9 (3):249 – 267.
    The idea that nature is importantly frame-less is an entrenched dogma in much of environmental aesthetics. Although there are powerful arguments that support this position, there are also powerful arguments supporting the view that observers often - or even inevitably - frame, bound, or otherwise confine natural objects in the course of aesthetic regard. Facing these opposing arguments off against each other produces the 'framing paradox': On the one hand, frames seem to be an indispensable condition for the aesthetic experience (...)
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  • Ethics and Landscape: Values and Choices.Bjørg Lien Hanssen - 2001 - Ethics, Place and Environment 4 (3):246-252.
    There are certain ethical norms that seem to be influencing our choices, both in landscape evaluations and in other sections of society. The paper will give a brief discussion of different ethical theories and give examples of how these theories are found in practical solutions in dealing with landscape in planning and conservation. Ethics are fundamental parts of what we call culture, and refer first and foremost to human action in what a given society takes to be good and evil (...)
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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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  • Global Visions and Common Ground: Biodemocracy, Postmodern Pressures, and the Earth Charter.Heather Eaton - 2014 - Zygon 49 (4):917-937.
    The theme of this article is a rise in notions of a planetary community, and the tensions this evokes in global-local and universal-contextual debates. The primary focus is the realization that new visions are needed to respond to ecological dilemmas in a culturally diverse yet global world and interconnected Earth. Of the many ways to discuss this, I first consider the growing interest in and expansion of biodemocracy as a way to combine these dimensions. Insights and issues from postmodern perspectives (...)
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  • Environmental Aesthetics.Allen Carlson - 2008 - Stanford Encyclopedia of Philosophy.
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