1. The Aesthetics of Natural Environments- Arnold Berleant Presentation by: Cody Shoemaker

2. Two Aesthetics or One? -Berleant questions whether we should appreciate art and nature in the same manner, or have different approaches for the two. -Supports that natural objects can have just as much aesthetic value as does a painting but we must be careful how we appreciate them. -In this essay, Berleant intends to suggest that nature appreciation is “no peripheral matter” and that it has great importance in the world of philosophy. ART NATURE

3. Traditional View of Aesthetic Appreciation- Disinterested  Originally, this idea was presented by Kant  This view requires the need to adopt a special attitude by setting aside personal interests of “sense or reason” in order to fully appreciate an object free of distractions.  By using borders in art we are able to grasp the object “in a single view”, and from here we can find its beauty.  “Self-sufficiency, completeness, and unity”

4. Problems with the Disinterested Theory  Berleant suggests that this theory is incapable of describing architecture (fine art) in a way in which we can fully appreciate it.  A building is not something that can be fully appreciated by looking at a still frame picture of it.  There is more to the building than its initial appearance. Exterior

5. Berleant’s Engagement  A building must be “moved through” and experienced first hand to appreciate it aesthetically.  We must engage ourselves with the object somehow.  Some think practical activities such as these may subtract from the level of aesthetic appreciation one may have, and strive for a separation between art and utility.  Berleant insists that engagement can only add to appreciation. He continues to further extend this idea throughout the reading. Interior

6. Further Problems of Disinterested Theory  Impossible to maintain a distinction between beauty and utility.  Form and function closely related.  “..stirring up somatic and affective responses, and engaging us in ways that are difficult to reconcile with the contemplative ideal.”  Greater problems arise when the traditional theory is applied to nature.

7. Traditional Theory and Nature  If we are to be disinterested in nature we might as well appreciate a landscape painting instead of the landscape itself.  Difficult to look at nature as a contemplative object because we are constantly surrounded by it and participate in it. Disinterested Engaged

8. Dualistic Compromise  Some choose to appreciate art based on the skill of the creator who made the art.  This is impossible in nature, so we have to appreciate the order by which natural forces have produced objects. This entails 2 separate aesthetics.  The theories so far are based on objectivity, but it is difficult to objectify nature.

9. All art seems to force engagement.. -Viewer’s participation is need to complete a work of art. -The objects of art are experienced when we are forced to contemplate the object. -Sculpture emits a vibe of “charmed space” which we feel when appreciating it. -History of modern art is a history of perception, not a history of objects. -Perception refers to a somatic engagement.

10. Possibly an account based on a split between nature and culture..  The aim of this account may be to address the qualities and demands of the environment.  Hard sciences deal with nature, soft sciences deal with culture.  This seems implausible when viewing art because art is a product of culture yet it emulates the natural scientific model.  This view misrepresents nature. Nature can’t be separate from culture because there is no place that humans have not affected.

11. Nature as a Cultural Artifact  Our conception of nature changes based on our culture and the time in which we experience it.  People from the 1700’s had a different viewpoint on nature than we do today.  Hence, it is hard to say that the traditional aesthetic can encompass these large variety of viewpoints.

12. The Sublime -Kant suggested the sublime is one aspect of aesthetic appreciation in nature. Capacity of the natural world to exceed our powers of framing and control. -Entails continuity and engagement. -Kant says the sublime is grasped by reason and this is how we reach an aesthetic appreciation.

13. Aesthetics of Nature Applied to Art  Continuity and perceptual immersion occur in nature as well as in art.  Many artworks rely on the perceiver to evoke an emotion, which leads to an aesthetic appreciation.  Art and nature are experienced perceptually and appreciated aesthetically.  This view requires engagement.

14. The Beloved  Sexual intercourse can not be appreciated aesthetically from the disinterested standpoint.  “Value dwells on sensuous and other perceptual qualities of the situation.”

15. Conclusion  Nature and art are often fused and can be appreciated in the same manner.  Hence, a single aesthetic applies to nature and art because they are both cultural constructs. The are one in the same thing.  Engagement encompasses art and nature. Opens regions of experience.