By Robert Stecker
Publish 12 months note: First released February twenty fifth 2005
Praised in its unique variation for its updated, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's new version of Aesthetics and the Philosophy of artwork preserves the foremost topics and conclusions of the unique, whereas increasing its content material, supplying new beneficial properties, and embellishing accessibility. Stecker introduces scholars to the historical past and evolution of aesthetics, and in addition makes an incredible contrast among aesthetics and philosophy of artwork. whereas aesthetics is the learn of worth, philosophy of paintings bargains with a much broader array of questions together with matters in metaphysics, epistemology, the philosophy of brain, to boot worth idea. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker focuses on sympathetically laying endure the play of argument that emerges as competing perspectives on a subject interact one another. This ebook doesn't easily current an argument in its present country of play, yet as an alternative demonstrates a philosophical brain at paintings assisting to develop the difficulty towards an answer.
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Extra info for Aesthetics and the Philosophy of Art: An Introduction (2nd Edition) (Elements of Philosophy)
The result might be a more constrained conception of appropriate aesthetic experience for nature. However, we have found no good justification for such constraints, if we focus strictly on aesthetic appreciation. Alternatively, the model of art appreciation might suggest that the appreciation of nature is a more complex practice than simply deriving aesthetic value from observing and interacting 34 Chapter Two with nature. Like art, ethical, cognitive, and other considerations have to be thrown into the mix to get a proper conception of the appreciation of nature.
We enjoy the vivid colors of a New England hillside in autumn, the graceful movements of deer, the grotesque appearance of bare apple trees. It is just that recognition of such aesthetic properties seems optional, in the sense that other experiences of nature engage our aesthetic appreciation without noting the descriptively “thicker” aesthetic properties. This leaves the boundaries of such appreciation uncertain at least until an Environmental Aesthetics: Natural Beauty 33 alternative conception, not limited to engagement with aesthetic properties, is proposed.
An alternative conception of nature appreciation is modeled, not so much on aesthetic experience, but on art appreciation. The claim is not that we should appreciate nature as, or as if it were, an artwork (as the artwork model considered earlier claims), but that there is a useful analogy between the two kinds of appreciation. Many people think we have to bring certain categories to art,11 those of intention, convention, style, period, genre, or context to properly identify many aesthetic features of artworks.