Aesthetic Appreciation of the Natural Environment
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Appreciation and the Natural
Environment
Allen Carleson
By: Katy Robinson
Appreciation of Art
We have a sense of
what
and
how
to appreciate art
objects aesthetically
What:
we distinguish a work and its parts, as well as
relevance
How:
we know what “acts of aspection” to perform
while
Different pieces have different boundaries, and by
knowing a type, we know what and how to appreciate it
We must know the background (ex: an art historian is
better equipped for appreciation)
The BIG question…
What
and
how
do we aesthetically appreciate the
natural environment?
Two artistic models for the appreciation of nature:
Object Model
Landscape Model
Environmental model for the appreciation of nature
Object Model
We actively and contemplatively remove an object
from its surroundings and dwell on its sensuous
qualities
1. Natural objects are often appreciated in this way
2. It fits with one feature
3. Traditional aesthetic approach
Object Model
Problem: Landscape has indeterminate form
Limitations:
Appreciating nature vs. objects of nature
Required removal from surroundings before we know
what and how to appreciate
Unlike art, natural objects have an organic unity with the
environment, which has aesthetic relevance to the
object. Its expressive of particular forces shaping it.
If we remove the object, we lost this, and if not, the model
does not apply.
Landscape Model
Comparative in the art world to a landscape painting
There’s a representation of the object and its
represented features
Essential qualities: visual coloration and overall
design
We must view from a specific standpoint and
distance
Embodied in the scenery cult. Main concept is the
“picturesque” meaning picture like nature- dividing it
into scenes
Landscape Model
Tourist prefer these “scenic viewpoints”
Regularity of perspective is enhanced by the
viewpoint
Rees’ opinion: this confirms our anthropocentrism,
suggesting nature is there to please us
This becomes an ethical and aesthetic issue
Problem: the environment is not a scene
Not a representation
Not static
Not two dimensional
Environmental Model
Landscape and Object models inadequate
To consider environmentally we must consider “self
to setting” not “subject to object” or “traveler to
scene”
What do we appreciate?
Everything
How do we appreciate?
In which we are normally aware and experience our
surroundings
Environmental Model
How: we must experience a background with sight,
smell, touch etc. and we must experience this not
only as an unobtrusive background, but as an
obtrusive foreground
We must learn to be yielding and careless like a child
to enjoy nature polymorphously- bathing in a meld
of physical sensations
Ex: smell of the hay, warmth of the ground, warmth
of the sun, the tickling of an ant, the playing of the
shadows, sound of water,
Environmental Model
What? Everything
We can’t appreciate everything- there must be limits
and emphasis on things in nature just as there are
with art.
There’s too much- “booming, buzzing confusion”
wouldn’t be wholly satisfying.
The environment is natural, it is not a work of art. It
has no boundaries or foci of aesthetic significance
that are given as a result of our creation nor of which
we have knowledge because of our involvement in
such creation.
The Main Point
We have not created nature, though we know a great
deal about it. This scientific/common sense seems to be
the only viable candidate for playing the role
concerning the appreciation of nature (ex: as an art
historian is better off for appreciation of art)
Must be a consummatory experience, where knowledge
transforms raw experience by making it determinate,
harmonious and meaningful
This helps us understand what acts of aspection to be
using
Not only important for aesthetic but moral and
ecological reasons as well
Exploring the nuances of appreciating the natural environment through different artistic models such as the Object Model and Landscape Model. Dive into the challenges and unique qualities of observing nature aesthetically, and the interplay between human perspective and the environment's inherent beauty.
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Presentation Transcript
Appreciation and the Natural Environment Allen Carleson By: Katy Robinson
Appreciation of Art We have a sense of what and how to appreciate art objects aesthetically What: we distinguish a work and its parts, as well as relevance How:we know what acts of aspection to perform while Different pieces have different boundaries, and by knowing a type, we know what and how to appreciate it We must know the background (ex: an art historian is better equipped for appreciation)
The BIG question What and how do we aesthetically appreciate the natural environment? Two artistic models for the appreciation of nature: Object Model Landscape Model Environmental model for the appreciation of nature
Object Model We actively and contemplatively remove an object from its surroundings and dwell on its sensuous qualities 1. Natural objects are often appreciated in this way 2. It fits with one feature 3. Traditional aesthetic approach
Object Model Problem: Landscape has indeterminate form Limitations: Appreciating nature vs. objects of nature Required removal from surroundings before we know what and how to appreciate Unlike art, natural objects have an organic unity with the environment, which has aesthetic relevance to the object. Its expressive of particular forces shaping it. If we remove the object, we lost this, and if not, the model does not apply.
Landscape Model Comparative in the art world to a landscape painting There s a representation of the object and its represented features Essential qualities: visual coloration and overall design We must view from a specific standpoint and distance Embodied in the scenery cult. Main concept is the picturesque meaning picture like nature- dividing it into scenes
Landscape Model Tourist prefer these scenic viewpoints Regularity of perspective is enhanced by the viewpoint Rees opinion: this confirms our anthropocentrism, suggesting nature is there to please us This becomes an ethical and aesthetic issue Problem: the environment is not a scene Not a representation Not static Not two dimensional
Environmental Model Landscape and Object models inadequate To consider environmentally we must consider self to setting not subject to object or traveler to scene What do we appreciate? Everything How do we appreciate? In which we are normally aware and experience our surroundings
Environmental Model How: we must experience a background with sight, smell, touch etc. and we must experience this not only as an unobtrusive background, but as an obtrusive foreground We must learn to be yielding and careless like a child to enjoy nature polymorphously- bathing in a meld of physical sensations Ex: smell of the hay, warmth of the ground, warmth of the sun, the tickling of an ant, the playing of the shadows, sound of water,
Environmental Model What? Everything We can t appreciate everything- there must be limits and emphasis on things in nature just as there are with art. There s too much- booming, buzzing confusion wouldn t be wholly satisfying. The environment is natural, it is not a work of art. It has no boundaries or foci of aesthetic significance that are given as a result of our creation nor of which we have knowledge because of our involvement in such creation.
The Main Point We have not created nature, though we know a great deal about it. This scientific/common sense seems to be the only viable candidate for playing the role concerning the appreciation of nature (ex: as an art historian is better off for appreciation of art) Must be a consummatory experience, where knowledge transforms raw experience by making it determinate, harmonious and meaningful This helps us understand what acts of aspection to be using Not only important for aesthetic but moral and ecological reasons as well
