We can see ruins as objects that have a foot in three different times: the past, the present, and the future. This is the nature of the ruin: they help us imagine the past, affords us interesting aesthetic opportunities in the present, and asks us to project ourselves (and it) into the future. We think about those who once lived, our own current experience, and what will be. There are two kinds of aesthetic experiences of ruins that are often conflated: that of recording the ruin be it in poetry…
Read moreWe can see ruins as objects that have a foot in three different times: the past, the present, and the future. This is the nature of the ruin: they help us imagine the past, affords us interesting aesthetic opportunities in the present, and asks us to project ourselves (and it) into the future. We think about those who once lived, our own current experience, and what will be. There are two kinds of aesthetic experiences of ruins that are often conflated: that of recording the ruin be it in poetry, prose, or picture and that of engaging with a ruin qua ruin (the experience of the ruin in situ). In this paper I discuss ruin appreciation and the major and minor appreciations discussed by Rose Macaulay. Minor forms of appreciation include graffiti while contemplating the sublime and engaging in multisensory ruinlust are considered major forms of appreciation.
