By Allen Carlson
Conventional aesthetics is frequently linked to the appreciation of artwork, yet Allen Carlson indicates how a lot of
our aesthetic event doesn't surround paintings yet nature--in our reaction to sunsets, mountains, horizons or extra mundane atmosphere.
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Extra info for Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture
The upshot is that if one plans and executes research in environmental aesthetics in terms of photographs rather than the actual environment, a concentration on form-constituting elements and formal qualities becomes a natural approach. Moreover, such an approach appears even more natural given the historical prominence of artistic formalism and the larger context of the scenery cult with its attendant mode of appreciation. Formal qualities in the natural environment The preceding section suggests that the emphasis on formal qualities in the natural environment is related to and influenced by traditional formalism in art.
199–227 (reproduced in this volume, Chapter 7). I also consider the ramifications of disinterestedness in “Between Nature and Art” (in this volume, Chapter 8). 3 FORMAL QUALITIES IN THE NATURAL ENVIRONMENT Formal qualities and formalism Following up our introduction to formalism in Chapter 2, in this chapter I consider the significance of formal qualities—in particular, in the aesthetic appreciation and evaluation of the natural environment. The topic is of interest for at least two reasons. The first is that there is a marked emphasis on formal qualities in much of the current non-theoretical research in environmental aesthetics.
301–12 (reproduced in this volume, Chapter 12), and “Existence, Location, and Function: The Appreciation of Architecture,” in Mitias, op. cit. (reproduced in this volume, Chapter 13). I develop the idea of an object-centered aesthetics in “Appreciating Art and Appreciating Nature,” in Kemal and Gaskell, op. , pp. 199–227 (reproduced in this volume, Chapter 7) and throughout Part II of this volume, especially in “Between Nature and Art” (this volume, Chapter 8). 16 2 UNDERSTANDING AND AESTHETIC EXPERIENCE Aesthetic experience on the Mississippi In Life on the Mississippi Mark Twain remarks: The face of the water, in time, became a wonderful book—a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice… In truth, the passenger who could not read this book saw nothing but all manner of pretty pictures in it, painted by the sun and shaded by the clouds, whereas to the trained eye these were not pictures at all, but the grimmest and most dead-earnest of reading matter.
Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture by Allen Carlson