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Books on the topic 'Environmental aesthetics and experience'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

1966-, Light Andrew, and Smith Jonathan M, eds. The aesthetics of everyday life. New York: Columbia University Press, 2005.

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2

Ståhlberg-Aalto, Freja. Aesthetics in care environments: The Japanese experience. Helsinki: Aalto University, School of Arts, Design and Architecture, 2013.

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3

Kit Wah Man, Eva, and Jeffrey Petts. Comparative Everyday Aesthetics. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723367.

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Leading international scholars present analysis and case studies from different cultural settings, East and West, exploring aesthetic interest and experience in our daily lives at home, in workplaces, using everyday things, in our built and natural environments, and in our relationships and communities. A wide range of views and examples of everyday aesthetics are presented from western philosophical paradigms, from Confucian and Daoist aesthetics, and from the Japanese tradition. All indicate universal features of human aesthetic lives together with their cultural variations. Comparative Everyday Aesthetics is a significant contribution to a key trend in international aesthetics for thinking beyond narrow art-centered conceptions of the aesthetic. It generates global discussions about good, aesthetic, everyday living in all its various aspects. It also promotes aesthetic education for personal, social, and environmental development and presents opportunities for global collaborative projects in philosophical aesthetics.
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4

Brazeau, Kari. Environmental experience. Bellingham, WA: Huxley College of Environmental Studies, Western Washington University, 1998.

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5

Environmental Aesthetics. London: Taylor & Francis Inc, 2004.

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6

Richard, Shusterman, and Tomlin Adele, eds. Aesthetic experience. New York: Routledge, 2007.

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7

Hiriyanna, Mysore. Art experience. New Delhi: Indira Gandhi National Centre for the Arts, 1997.

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8

Vogt, Erik Michael. Delimiting experience: Aesthetics and politics. Wien: Verlag Turia + Kant, 2013.

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9

Scruton, Roger. Judaism as an æsthetic experience. [Toronto, Ont: s.n., 2000.

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10

Abhinavagupta. The aesthetic experience according to Abhinavagupta. 3rd ed. Varanasi [India]: Chowkhamba Sanskrit Series Office, 1985.

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11

Mitias, Michael H. What makes an experience aesthetic? Würzburg: Königshausen & Neumann, 1988.

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12

What makes an experience aesthetic ? Amsterdam: Rodopi, 1988.

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13

Florer, Joanna. Windward environmental: An experience in environmental consulting. Bellingham, WA: Huxley College of Environmental Studies, Western Washington University, 2000.

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14

1942-, Sukla Ananta Charana, ed. Art and experience. Westport, Conn: Praeger, 2003.

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15

Exploring environmental aesthetics in Japan. New York: Peter Lang, 2009.

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16

Dewey, John. Art as experience. New York: Perigee Books, 2005.

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17

Bakkenist, Gisèle. Environmental information: Law, policy & experience. London: Cameron May, 1994.

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18

Coles, T. F. Environmental assessment; experience to date. Horncastle: Institute of Environmental Assessment, 1991.

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19

G, Hildebrand Stephen, and Cannon J. B, eds. Environmental analysis: The NEPA experience. Boca Raton, Fla: Lewis Publishers, 1993.

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20

Dewey, John. Art as Experience. New York: TarcherPerigee, 2005.

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21

Mitchell, Louis Joseph. Jonathan Edwards on the experience of beauty. Princeton, N.J: Princeton Theological Seminary, 2003.

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22

Paul, Crowther, ed. Aesthetics, imagination, and the unity of experience. Aldershot, Hants: Ashgate Pub., 2006.

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23

Literary journalism and the aesthetics of experience. Amherst: University of Massachusetts Press, 2016.

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24

H, Mitias Michael, ed. Possibility of the aesthetic experience. Dordrecht: M. Nijhoff, 1986.

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25

(Editor), Jonathan M. Smith, and Andrew Light (Editor), eds. The Aesthetics of Everyday Life (Spaces, Places & Environments). Chatham House Publishers, 2004.

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26

(Editor), Andrew Light, and Jonathan Smith (Editor), eds. The Aesthetics of Everyday Life. Columbia University Press, 2005.

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27

Saito, Yuriko. Aesthetics of the Familiar. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.001.0001.

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Everyday aesthetics was recently proposed as a challenge to the contemporary Anglo-American aesthetics discourse dominated by the discussion of art and beauty. This book responds to the subsequent controversies regarding the nature, boundary, and status of everyday aesthetics and argues for its legitimacy. Specifically, its discussion highlights the multifaceted aesthetic dimensions of everyday life that are not fully accounted for by the commonly held account of defamiliarizing the familiar. Instead, the appreciation of the familiar as familiar, negative aesthetics, and the experience of doing things are all included as being worthy of investigation. These diverse ways in which aesthetics is involved in everyday life are explored through conceptual analysis as well as by application of specific examples from art, environment, and household chores. The significance of everyday aesthetics is also multi-layered. This book emphasizes the consequences of everyday aesthetics beyond the generally recognized value of enriching one’s life experiences and sharpening one’s attentiveness and sensibility. Many examples, ranging from consumer aesthetics and nationalist aesthetics to environmental aesthetics and cultivation of moral virtues, demonstrate that the power of aesthetics in everyday life is considerable, affecting and ultimately determining the quality of life and the state of the world, for better or worse. In light of this power of the aesthetic, everyday aesthetics has a social responsibility to encourage cultivation of aesthetic literacy and vigilance against aesthetic manipulation. Ultimately, everyday aesthetics can be an effective instrument for directing humanity’s collective and cumulative world-making project for the betterment of all its inhabitants.
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28

Bloom, Lisa E. Climate Change and the New Polar Aesthetics. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478018643.

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In Climate Change and the New Polar Aesthetics, Lisa E. Bloom considers the ways artists, filmmakers, and activists engaged with the Arctic and Antarctic to represent our current environmental crises and reconstruct public understandings of them. Bloom engages feminist, Black, Indigenous, and non-Western perspectives to address the exigencies of the experience of the Anthropocene and its attendant ecosystem failures, rising sea levels, and climate-led migrations. As opposed to mainstream media depictions of climate change that feature apocalyptic spectacles of distant melting ice and desperate polar bears, artists such as Katja Aglert, Subhankar Banerjee, Joyce Campbell, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, Connie Samaras, and activist art collectives take a more complex poetic and political approach. In their films and visual and conceptual art, these artists link climate change to its social roots in colonialism and capitalism while challenging the suppression of information about environmental destruction and critiquing Western art institutions for their complicity. Bloom’s examination and contextualization of new polar aesthetics makes environmental degradation more legible while demonstrating that our own political agency is central to imagining and constructing a better world.
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29

Leddy, Thomas, ed. The Extraordinary in the Ordinary. Broadview Press, 2013. http://dx.doi.org/10.5040/9781350928527.

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This book explores the aesthetics of the objects and environments we encounter in daily life. Thomas Leddy stresses the close relationship between everyday aesthetics and the aesthetics of art, but places special emphasis on neglected aesthetic terms such as ‘neat,’ ‘messy,’ ‘pretty,’ ‘lovely,’ ‘cute,’ and ‘pleasant.’ The author advances a general theory of aesthetic experience that can account for our appreciation of art, nature, and the everyday.
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30

Brady, Emily. Aesthetic Value, Nature, and Environment. Edited by Stephen M. Gardiner and Allen Thompson. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199941339.013.17.

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This chapter discusses key issues and questions about aesthetic experience and valuing of natural objects, processes, and phenomena. It begins by exploring the character of environmental, multisensory aesthetic appreciation and then examines the central debate between “scientific cognitivism” and “noncognitivism” in contemporary environmental aesthetics. In assessing this debate and the place of knowledge, imagination, and emotion in aesthetic valuing, it is argued that non-cognitive approaches have the advantage of supporting a critical pluralism that recognizes the variety and breadth of aesthetic engagement with nature. Interactions between aesthetic and ethical values are also discussed, especially with respect to their role in philosophical positions such as “aesthetic preservationism” and the call for developing aesthetic theories that are consistent with environmentalism.
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31

Rose, Gillian, and Monica Montserrat Degen. New Urban Aesthetic: Digital Experiences of Urban Change. Bloomsbury Publishing Plc, 2022.

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32

New Urban Aesthetic: Digital Experiences of Urban Change. Bloomsbury Publishing Plc, 2022.

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33

Stecker, Robert. Intersections of Value. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198789956.001.0001.

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This book is about the universal human need to aesthetically experience the world around us. To this end, it examines three appreciative contexts where aesthetic value plays a central role: art, nature, and the everyday. The book concludes by asking: what is the place of the aesthetic in a good life? An equally important theme explores the way the aesthetic interacts with other values—broadly moral, cognitive, and functional ones. No important appreciative practice is completely centered on a single value and such practices can only be fully understood in terms of a plurality of intersecting values. Complementing the study of aesthetic appreciation are: (1) An analysis of the cognitive and ethical value of art; (2) an attempt to answer fundamental questions in environmental aesthetics, and an investigation of the interface between environmental ethics and aesthetics; and (3) an examination of the extent to which the aesthetic value of everyday artifacts derives from their basic practical functions. The book devotes special attention to art as an appreciative context because it is an especially rich arena where different values interact. Artistic value is complex and pluralistic, a value composed of other values. Aesthetic value is among these, but so are ethical, cognitive, and art-historical values.
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34

Mastandrea, Stefano, Jeffrey K. Smith, and Pablo P. L. Tinio, eds. Environment, Art, and Museums: The Aesthetic Experience in Different Contexts. Frontiers Media SA, 2021. http://dx.doi.org/10.3389/978-2-88966-934-9.

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35

Fisher, John A. Environmental Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0039.

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The rapid growth of concern for the natural environment over the last third of the twentieth century has brought the welcome reintroduction of nature as a significant topic in aesthetics. In virtue of transforming previous attitudes towards nature, environmentalist thinking has posed questions about how we conceptualize our aesthetic interactions with nature, the aesthetic value of nature, and the status of art about nature. Although environmental concerns have undoubtedly motivated the new aesthetic interest in nature, the term ‘environmental aesthetics’ connotes two overlapping but distinct themes, one emphasizing the aesthetics of nature as understood by environmentalism, the second focusing on the notion of environments of all sorts as objects of appreciation.
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36

Drenthen, Martin, and Jozef Keulartz, eds. Environmental Aesthetics. Fordham University Press, 2014. http://dx.doi.org/10.1515/9780823254521.

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37

Drenthen, Martin, and Jozef Keulartz, eds. Environmental Aesthetics. Fordham University Press, 2014. http://dx.doi.org/10.5422/fordham/9780823254491.001.0001.

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38

Nasar, Jack L., ed. Environmental Aesthetics. Cambridge University Press, 1988. http://dx.doi.org/10.1017/cbo9780511571213.

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39

Porteous, J. Douglas. Environmental Aesthetics. Routledge, 2013. http://dx.doi.org/10.4324/9780203437322.

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40

McGonigal, Andrew. Aesthetic Reasons. Edited by Daniel Star. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199657889.013.40.

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Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of aesthetic reasons has often been thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons.
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41

Tremblay, Jean-Thomas. Breathing Aesthetics. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023494.

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In Breathing Aesthetics Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historically, culturally, and environmentally situated tactics and strategies for living under precarity.
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42

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2010.

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43

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2010.

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44

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2010.

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45

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2010.

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46

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2010.

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47

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2010.

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48

Shusterman, Richard, and Adele Tomlin. Aesthetic Experience. Taylor & Francis Group, 2007.

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49

Saito, Yuriko. The Aesthetics of Laundry. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0005.

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As one of the most mundane aspects of daily life, laundry rarely garners aesthetic attention. However, this practical chore turns out to contain numerous aesthetic considerations beyond ensuring hygiene and cleanliness. Furthermore, the aesthetics of laundry is not limited to the sensuous appearance of the laundered items. The activity of laundering also has aesthetic dimensions, including bodily engagement, imaginative camaraderie with women across cultural and historical boundaries, satisfaction with the tangible expression of love for the family, and appreciation of the outdoor environment when hanging laundry. Finally, the consequences of the aesthetics of laundry extend beyond personal experiences. Namely, the appearance of clothing is often regarded as a reflection of one’s moral character, and the ‘eyesore’ effect of outdoor laundry hanging leads to its prohibition in some communities in the United States.
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50

Shusterman, Richard. Aesthetic Experience and Somaesthetics. BRILL, 2018.

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