Download e-book for iPad: Aesthetics and the Environment: The Appreciation of Nature, by Allen Carlson

By Allen Carlson

Conventional aesthetics is frequently linked to the appreciation of paintings, yet Allen Carlson exhibits how a lot of

our aesthetic adventure doesn't surround artwork yet nature--in our reaction to sunsets, mountains, horizons or extra mundane atmosphere.

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Additional info for Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture

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Moreover, although the position has been subjected to extensive criticism by art critics and aestheticians, it has nonetheless had great influence on both the initial acceptance and the continued development of various degrees of abstraction in art. Hand in hand with these developments came the willingness and the ability on the part of both critics and the general public to respond to the more formal dimensions in art and to think of aesthetic appreciation and aesthetic value in terms of form and formal qualities.

But in all this the form and formal qualities of the environment are enhanced at the expense of the natural environment’s other aesthetically significant qualities. In this way the scenery cult not only promotes the aesthetic appreciation of the natural environment (as has been widely recognized); it also promotes a certain kind of aesthetic appreciation— appreciation with a formalist bias. The way in which the scenery cult promotes formal qualities in the aesthetic appreciation of the natural environment has an interesting parallel in current research.

212–16. A similar position is defended in Robert Elliot, “Faking Nature,” Inquiry, 1982, vol. 25, pp. 81– 93. But for a revised position see Robert Elliot, Faking Nature: The Ethics of Environmental Restoration, London, Routledge, 1997. I discuss this kind of approach in “Nature and Positive Aesthetics,” op. cit. (reproduced in this volume, Chapter 6) and “Appreciating Art and Appreciating Nature,” in Kemal and Gaskell, op. , pp. 199–227 (reproduced in this volume, Chapter 7). See Paul Ziff, “Anything Viewed,” in Antiaesthetics: An Appreciation of the Cow with the Subtile Nose, Dordrecht, Reidel, 1984, pp.

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