By Allen Carlson
Conventional aesthetics is frequently linked to the appreciation of artwork, yet Allen Carlson indicates how a lot of
our aesthetic adventure doesn't surround paintings yet nature--in our reaction to sunsets, mountains, horizons or extra mundane atmosphere.
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This anthology is notable not just for the decisions themselves, between which the Schelling and the Heidegger essays have been translated specially for this quantity, but additionally for the editors' normal advent and the introductory essays for every choice, which make this quantity a useful reduction to the examine of the robust, recurrent rules relating paintings, attractiveness, severe approach, and the character of illustration.
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Extra info for Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture
Conclusion In conclusion, it must be admitted that our treatment of Twain’s marvelous description of this one facet of his life on the Mississippi does not account for something we initially thought suggested by it, that is, a conflict between aesthetic experience and cognitive experience in general. However, although Twain’s remarks suggest a general conflict, he is not, given his focus on the particular experience of the steamboat pilot, committed to any such conflict. Moreover, that he is not so committed is just as well, for we have discovered, first, in our consideration of the formalist theory of art, that defending any such general conflict leads to incoherence and, second, in our consideration of disinterestedness, that defending such a conflict is not necessary in order to explain observations such as Twain’s.
The Claude-glass, the camera viewfinder, and the scenic viewpoint all help make the environment look more like landscape art as they tone down harsh contrasts, make detail less evident, accentuate overall relations and patterns, and more or less provide limits for the scene. 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 second is of the kind that may be characterized as cognitive; it involves an understanding of meanings achieved in virtue of knowledge gained through education or training. Thus, a significant question posed by Twain’s remarks is the question of whether or not aesthetic experience and cognitive experience are in conflict in the way in which he seemingly suggests that they are. Is it the case that, without knowledge and understanding of that which we experience, we, like the uneducated passenger, may experience it aesthetically?
Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture by Allen Carlson