British Journal of Aesthetics 46 (1):17-37 (2006)
AbstractNatural beauty has often been viewed as a somewhat vague and subjective matter. Even theorists who view disputes concerning the aesthetic value of artworks as involving correct and incorrect judgements have argued that, in many disputes concerning natural beauty, there are no correct or incorrect judgements. In this essay, I consider recent attempts to develop a more objectivist view of nature appreciation based on the role of scientific knowledge in such appreciation. In response to recent criticisms of this approach, I argue that, when developed, it does provide a viable conception of objectivity for nature aesthetics.
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Citations of this work
Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
Aesthetics of Nature, Constitutive Goods, and Environmental Conservation: A Defense of Moderate Formalist Aesthetics.Jennifer Welchman - 2018 - Journal of Aesthetics and Art Criticism 76 (4):419-428.
Knowledge, Imagination, and Stories in the Aesthetic Experience of Forests.Jukka Mikkonen - 2018 - Estetika: The European Journal of Aesthetics 55 (1):3-24.
References found in this work
Appreciation and the natural environment.Allen Carlson - 1979 - Journal of Aesthetics and Art Criticism 37 (3):267-275.
Nature, aesthetic judgment, and objectivity.Allen Carlson - 1981 - Journal of Aesthetics and Art Criticism 40 (1):15-27.