Emily Brady

Alfred Wainwright was arguably the best known British guidebook writer of the20th century, and his work has been highly influential in promoting and directing fell-walking in northern Britain, in particular in the English Lake District. His work has, however, received little critical attention. This paper represents an initial attempt to undertake such a study. We examine Wainwright’s work through the lens of the landscape values and aesthetics that, we suggest,underpins it, and by an exploration of what might be called Wainwright’s ‘environmental identity’. We argue that Wainwright manifests a strikingly contemporary embodied landscape aesthetic and a strongly place-attached environmental identity. We consider some possiblei mplications of this landscape aesthetic and place attached identity, including their relation to broader environmental commitments and the possibility that the endorsement of such values may have exclusionary consequences for members of ‘outsider’ groups

The concept of cultural landscape was first put to use by the German geographer Friedrich Ratzel in 1895. The American geographer Carl Sauer was probably the first to use the concept in the English language in 1925. In recent years, the concept of cultural landscape has become significant in social and political decision-making, and in environmental management and preservation. Cultural landscape has also become the object of extensive consideration and discussion within diverse academic disciplines and areas of research, such as human geography, cultural anthropology, history, archaeology, biology, and ecology. Depending on the discipline or area of research, focus is directed towards specific features in the landscape that have come about as a result of human activity. This collection of essays is predicated on the view that considerations regarding the cultural landscape have underlying philosophical presuppositions. The authors propose that the cultural landscape be made the focus of environmental philosophy, ethics, and aesthetics.

In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, and it does not entail a passive subject abstracted from who they are. This standpoint is compatible with a 'situated aesthetic' in which appreciation of aesthetic qualities is grounded in an embedded subject who is sensitive to the context and narrative of the object. The alternative model provides a conception of aesthetic value which distinguishes it from amenity value, and it also defines a non-instrumental approach that offers the opportunity for enhanced appreciation and attention to nature's value.

Environmental changes on a vast scale have motivated philosophers to consider problems related to intergenerational justice and future generations of people, nonhumans, and the earth they inhabit. How should the field of aesthetics respond? The aim of this special issue of “Studi di Estetica” is to create space for scholars to bring temporality and intergenerational aesthetics more deeply into the field. The articles here are focused on temporality in art, nature, modified environments and relationships between them. In this introductory essay, I explore, first, how temporality features in the phenomena of aesthetic experience of environment, in living and nonliving things, creatures, situations, places, settings, and processes. Second, I address how the resources of the aesthetic subject (senses, imagination, emotions, and knowledge) grapple with environmental temporality and the future. To conclude the essay, I sketch out what it means to show “aesthetic concern” for future generations by drawing on ideas from environmental virtue aesthetics.

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.

What are the aesthetic transformations taking place through the effects of global warming and human responses to these effects? How should we conceptualize aesthetic environmental change, especially in the context of intergenerational concern for both nonhumans and humans? As the earth’s systems and its organisms experience climate change, these kinds of questions require an understanding of the aesthetic qualities, meanings, and values of lost species, places, and landscapes, as well as those which emerge through mediation and adaptation. The experience of aesthetic value or “aesthetic appreciation” is central to the study of aesthetics and, in practical terms, offers a more intimate scale for understanding the concrete interactions people have with changing environments and places. To explore these issues, the chapter discusses the tools of environmental aesthetics which can assist in grasping shifts in natural and seminatural aesthetic qualities, meanings, and values across both shorter and longer time scales, including intergenerational and future temporalities. The chapter moves on to address the kinds of aesthetic qualities of the earth’s systems which are demanding more attention in order to better understand and uncover what is being lost or affected by environmental change. Negative values are then discussed to address how aesthetics is placed with respect to the range of environmental phenomena caused by climate change, such as wildfires, flooding, hurricanes, droughts, and so on. The chapter closes with a discussion of the interrelationship between aesthetics and ethics in the context of environmental change.

This fresh and innovative approach to human-environmental relations will revolutionise our understanding of the boundaries between ourselves and the environment we inhabit. The anthology is predicated on the notion that values shift back and forth between humans and the world around them in an ethical communicative zone called ‘value-space’. The contributors examine the transformative interplay between external environments and human values, and identify concrete ways in which these norms, residing in and derived from self and society, are projected onto the environment.

Environment and Philosophyprovides an accessible introduction to the radical challenges that environmentalism poses to concepts that have become almost second nature in the modern world. These include: * the ideas of science and objectivity * the conventional placement of the human being within the environment * the individualism of convential Modern thought Written in an accessible way for those without a background in philosophy, this text examines ways of thinking about ourselves, nature and our relationship with nature. It offers an introduction to the phenomenological perspective on environmental issues, and also to the questions of what natural beauty is.