Download Aesthetics and the Environment: The Appreciation of Nature, by Allen Carlson PDF
By Allen Carlson
Conventional aesthetics is frequently linked to the appreciation of artwork, yet Allen Carlson indicates how a lot of
our aesthetic adventure doesn't surround artwork yet nature--in our reaction to sunsets, mountains, horizons or extra mundane atmosphere.
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Extra resources for Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture
199–227 (reproduced in this volume, Chapter 7). See Paul Ziff, “Anything Viewed,” in Antiaesthetics: An Appreciation of the Cow with the Subtile Nose, Dordrecht, Reidel, 1984, pp. 129–39. Although the postmodern model seems a recent innovation, it was suggested over one hundred years ago by George Santayana in The Sense of Beauty, , New York, Collier, 1961, p. 99. ” I discuss the postmodern model in “Between Nature and Art” (in this volume, Chapter 8) and in “Landscape and Literature” (in this volume, Chapter 14).
10. The relevant sources for Shaftesbury and Hutcheson are, respectively, Anthony, Earl of Shaftesbury, Characteristics of Men, Manners, Opinions, Times, etc. ), 28 UNDERSTANDING AND AESTHETIC EXPERIENCE Gloucester, Massachusetts, Peter Smith, 1963 and Francis Hutcheson, An Inquiry Concerning Beauty, Order, Harmony, Design. ), The Hague, Martinus Nijhoff, 1973. 12 See Jerome Stolnitz, “Of the Origins of ‘Aesthetic Disinterestedness,’” The Journal of Aesthetics and Art Criticism, 1961, vol. 20, pp.
On the form side of the ledger we have primarily the following: first, as basic elements, two major shapes, one larger and rather pear-shaped and a second roughly rectangular, the former essentially in outline and the latter with a lined pattern throughout, and each consisting of black-and-white color and numerous lines; second, as relationships of these elements, the former shape is dominant and to the left of the composition and the latter recessive and to the right, while the white color is the background color with the black largely concentrated at the bottom of the composition and to a lesser extent at the top and along the right side; third, as general quality, a composition that is sparse, yet graceful, unified, and balanced.