Nature Appreciation, Science, and Positive Aesthetics

Abstract

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism:(1) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature and (2) it justifies the idea that nature, seen aright, is always beautiful (i.e., positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made 'internal' to the theory of appropriate aesthetic appreciation, in the sense that this theory determine the correct scientific categories for appreciating a natural object, in part, in virtue of a 'beauty-making' criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view.

Environmental aesthetics: A synthetic review

“…While there is general agreement that broader, richer approaches are needed to capture the potential diversity of aesthetic qualities of environments, nature, and landscape, the contemporary debate in environmental aesthetics has been strongly shaped by two contrasting approaches: ‘scientific cognitivism’ and ‘non‐cognitivism’. Scientific cognitivism holds that if appreciation is to reach beyond a superficial aesthetic response and issue in judgments appropriate to their objects, it must be informed by scientific knowledge (Carlson, 1979, 2000, 2010; Parsons, 2002; Rolston, 1995). The most influential position within this type of approach is Carlson's (2000) ‘natural environmental model’.…”

Exploring sustainable tourism development in mountainous Guizhou Province, China

“…Deep appreciation is a superior form of knowledge production (Parsons, 2002), and this desire of appreciation is vital in motivating people to dedicate themselves towards conserving the natural ecosystems and biodiversity. Industrial growth from late 18 th century Britain first saw nature-led leisure seeking by rising middle classes.…”

A Response to Emily Brady's ‘Aesthetic Regard for Nature in Environmental and Land Art’

“…just as appropriate aesthetic appreciation of art must be informed by knowledge of art history and theory in his 'Appreciation and the natural environment' (Carlson, 1979). For more on scientific cognitivism as discussed by other authors, see Callicott (1987); Fudge (2001); Matthews (2002); Parsons (2002Parsons ( , 2006; and Rolston III (1995). 6 Carlson's view is that 'the general way in which environmental artists alter nature's aesthetic qualities by turning nature into art does seem to support its being an affront to nature' (Carlson, 1986a, p. 155).…”