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  1. Environmental Aesthetics, Ethics, and Ecoaesthetics.Allen Carlson - 2018 - Journal of Aesthetics and Art Criticism 76 (4):399-410.
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  • We Do Not Have an Adequate Conception of Art Until We Have One That Accommodates Gardens.John Powell - 2012 - Dissertation, Lincoln University
    The thesis explores the adequacy of five well-known conceptions of art to the case of gardens. It concludes that, of those conceptions, the cluster theory is best suited to the case of gardens.
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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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  • In Defence of Extreme Formalism About Inorganic Nature: Reply to Parsons.Nick Zangwill - 2005 - British Journal of Aesthetics 45 (2):185-191.
    I defend extreme formalism about inorganic nature against arguments put forward by Glenn Parsons. I begin by laying out the general issue over aesthetic formalism, and I describe the position of extreme formalism about inorganic nature. I then reconsider -Ronald Hepburn's beach/seabed example. Next I discuss the notions of function in play in our thinking about inorganic nature. And lastly I consider Parsons's flooding river example. I conclude that extreme formalism about inorganic nature is safe from Parsons's arguments.
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  • Environmental Aesthetics.Allen Carlson - 2008 - Stanford Encyclopedia of Philosophy.
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