120:. The crane is wildlife on its own and is not an art object. This can be related to Saito's definition of the cognitive view. In elaboration, the crane lives through various ecosystems such as Yellowstone. Nature is a living system which includes animals, plants, and Eco-systems. In contrast, an art object has no regeneration, evolutionary history, or metabolism. An individual may be in the forest and perceive it as beautiful because of the plethora of colors such as red, green, and yellow. This is a result of the chemicals interacting with chlorophyll. An individual's aesthetic experience may increase; however, none of the things mentioned have anything to do with what is really going on in the forest. The chlorophyll is capturing solar energy and the residual chemicals protect the trees from insect grazing.
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inclinations, as Croce describes as the appreciation of nature as looking in a mirror, or what we might call our inward life; but may instead be the things we come across in nature that engage and stimulate our imagination. As a result, we are challenged to think differently and apply thoughts and associations to in new situations and ways.
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Aesthetics of nature developed as a sub-field of philosophical ethics. In the 18th and 19th century, the aesthetics of nature advanced the concepts of disinterestedness, the pictures, and the introduction of the idea of positive aesthetics. The first major developments of nature occurred in the 18th
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In a Post-Modern approach, when an individual engages in aesthetically appreciating a natural thing, we give meaning to the thing we appreciate and in that meaning, we express and develop our own attitudes, values and beliefs. Our interest in natural things are not only a passive reflection of our
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Euclidean human-made space can be altered by integrating the aesthetics of nature. Fractal patterns offer the chance to enhance man-made spaces by introducing visually soothing natural designs. Research indicates a preference for specific fractal complexities that resemble nature's patterns. Three
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As a characterization of the appreciation of art, nature aestheticists argue that post modernism is a mistaken view because we do not have a case of anything goes. The aesthetics appreciation of art is governed by some normative standards. In the world of art, criticism may take place when people
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Objects experienced as beautiful tend to be small, smooth, and fair in color. In contrast, objects viewed as sublime tend to be powerful, intense and terrifying. Picturesque items are a mixture of both, which can be seen as varied and irregular, rich and forceful, and even vibrant.
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Cognitive and non-cognitive approaches of nature have directed their focus from natural environments to the consideration of human and human-influenced environments and developed aesthetic investigations of everyday life. (Carlson and
Lintott, 2007; Parsons 2008a; Carlson 2010)
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experiments explored various fractal designs, revealing that viewers' perceptions of pattern complexity and engagement increase with the fractal's complexity. These perceptions remained consistent across different designs, methodologies, and cultural backgrounds.
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that generate land ethic are integrity, stability and beauty. None of the mentioned features are real in nature. Ecosystems are not stable: they are dramatically changing and they have little integration; ergo, beauty is in the eye of the beholder.
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The idea of the sublime: this explained the threatening and terrifying side of nature such as mountains and wilderness; however, when it is viewed through the disinterestedness perspective, it can be aesthetically appreciated rather than feared or
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come together and discuss books and films or critics write appraisals for publications. On the contrary, there are not obvious instances of debate and appraisals where different judgments about the aesthetics of character of nature are evaluated.
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Robles, Kelly E.; Roberts, Michelle; Viengkham, Catherine; Smith, Julian H.; Rowland, Conor; Moslehi, Saba; Stadlober, Sabrina; Lesjak, Anastasija; Lesjak, Martin; Taylor, Richard P.; Spehar, Branka; Sereno, Margaret E. (2021).
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55:, who expanded it to exclude personal and utilitarianism interests and associations of a more general nature from aesthetic experience. This concept was further developed by
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The notion of the picturesque: the term "picturesque" means "picture-like", where the natural world is experienced as if it is divided into art-like scenes
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Any color perceived by human visitors for a few hours is entirely different from what is really happening. According to
Leopold, the three features of
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The theory of disinterestedness opened doors for a better understanding of the aesthetics dimensions of nature in terms of three conceptualizations:
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is not an art object; an art object is not a sandhill crane. In fact, an art object should be called an
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introduced the concept as a way of characterizing the notion of the aesthetic, later magnified by
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273:. Metaphysics Research Lab, Stanford University – via Stanford Encyclopedia of Philosophy.
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Rolson, Holmes (2002). "From Beauty to Duty: Aesthetics of Nature". In
Berleant, Arnold (ed.).
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The idea of beautiful: this applied to tamed and cultivated
European gardens and landscapes
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U.S. Congress (1973), Endangered
Species Act of 1973 (Public Law 93-205), sec. 2a.
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A Philosophical
Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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century. The concept of disinterestedness had been explained by many thinkers.
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Stolnitz, J. (1961). "Of the
Origins of 'Aesthetic Disinterestedness'".
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Carlson, Allen. "Environmental
Aesthetics". In Zalta, Edward N. (ed.).
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Integrating the aesthetics of nature into the
Euclidean man-made space
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Environment and the Arts: Perspectives on
Environmental Aesthetics
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372:"Aesthetics and Psychological Effects of Fractal Based Design"
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Carlson, Allen (August 16, 2020). Zalta, Edward N. (ed.).
34:, and refers to the study of natural objects from their
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The Work of Art in the Age of Mechanical Reproduction
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59:who referred it to a particular state of mind.
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444:Continuum International Publishing Group
270:The Stanford Encyclopedia of Philosophy
216:Journal of Aesthetics and Art Criticism
189:The Stanford Encyclopedia of Philosophy
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254:Pennsylvania State University Press
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252:. University Park, Pennsylvania:
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16:Subfield of philosophical ethics
228:10.1111/1540_6245.jaac20.2.0131
108:People may be mistaken by the
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1324:Aestheticization of politics
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104:A sandhill crane in flight
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389:10.3389/fpsyg.2021.699962
112:analogy. For instance, a
87:21st century developments
1344:Evolutionary aesthetics
1294:The Aesthetic Dimension
376:Frontiers in Psychology
356:Oxford University Press
23:Wasp on a bee honeycomb
1274:Avant-Garde and Kitsch
1224:Lectures on Aesthetics
350:Leopold, Aldo (1968).
192:(Summer 2012 ed.)
105:
24:
1419:Philosophy portal
440:Aesthetics and Nature
352:A Sand County Almanac
103:
49:Anthony Ashley-Cooper
22:
1364:Philosophy of design
1244:In Praise of Shadows
1234:The Critic as Artist
438:Parsons, G. (2008).
248:American Picturesque
32:philosophical ethics
28:Aesthetics of nature
1374:Philosophy of music
1349:Mathematical beauty
358:. pp. 224–225.
244:Conron, J. (2000).
1440:Applied aesthetics
1369:Philosophy of film
1359:Patterns in nature
1329:Applied aesthetics
1304:Why Beauty Matters
1090:Life imitating art
951:Art for art's sake
295:Ashgate Publishing
106:
30:is a sub-field of
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1379:Psychology of art
1254:Art as Experience
53:Francis Hutcheson
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314:on 2010-07-05
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38:perspective.
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1095:Magnificence
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893:Schopenhauer
728:Coomaraswamy
646:Philosophers
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565:Aestheticism
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354:. New York:
351:
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316:. Retrieved
309:the original
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194:. Retrieved
188:
160:Ecosemiotics
148:
144:
135:
122:
117:
107:
90:
81:
66:
45:
27:
26:
1188:(c. 335 BC)
1178:(c. 390 BC)
1157:Work of art
1110:Picturesque
966:Avant-garde
923:Winckelmann
798:Kierkegaard
723:Collingwood
693:Baudrillard
620:Romanticism
590:Historicism
524:Mathematics
36:aesthetical
1434:Categories
1127:Recreation
1105:Perception
998:Creativity
698:Baumgarten
688:Baudelaire
570:Classicism
485:Aesthetics
318:2012-10-03
166:References
141:Objectives
125:ecosystems
110:art object
1132:Reverence
1038:Eroticism
1008:Depiction
981:Masculine
883:Santayana
843:Nietzsche
788:Hutcheson
778:Heidegger
763:Greenberg
718:Coleridge
683:Balthasar
668:Aristotle
630:Theosophy
625:Symbolism
600:Modernism
585:Formalism
398:1664-1078
196:2 October
75:neglected
1407:Category
1339:Axiology
1208:(c. 500)
1198:(c. 100)
1073:Judgment
1028:Emotions
1023:Elegance
1003:Cuteness
976:Feminine
939:Concepts
908:Tanizaki
888:Schiller
873:Richards
863:Rancière
833:Maritain
768:Hanslick
708:Benjamin
580:Feminism
549:Theology
529:Medieval
519:Japanese
514:Internet
416:34484047
154:See also
118:artifact
63:Theories
1402:Outline
1317:Related
1184:Poetics
1152:Tragedy
1142:Sublime
1115:Quality
1100:Mimesis
1058:Harmony
1043:Fashion
1018:Ecstasy
1013:Disgust
929:more...
898:Scruton
823:Lyotard
758:Goodman
738:Deleuze
673:Aquinas
663:Alberti
636:more...
615:Realism
595:Marxism
575:Fascism
558:Schools
544:Science
499:Ancient
407:8416160
42:History
1445:Nature
1308:(2009)
1298:(1977)
1288:(1946)
1278:(1939)
1268:(1935)
1258:(1934)
1248:(1933)
1238:(1891)
1228:(1835)
1218:(1757)
1085:Kitsch
1063:Humour
993:Comedy
971:Beauty
913:Vasari
903:Tagore
878:Ruskin
818:Lukács
808:Langer
753:Goethe
678:Balázs
658:Adorno
539:Nature
504:Africa
414:
404:
396:
301:
1397:Index
1166:Works
1147:Taste
1137:Style
918:Wilde
858:Plato
853:Pater
813:Lipps
773:Hegel
743:Dewey
733:Danto
713:Burke
534:Music
509:India
492:Areas
312:(PDF)
291:(PDF)
1121:Rasa
1079:Kama
1053:Gaze
988:Camp
868:Rand
803:Klee
793:Kant
783:Hume
703:Bell
412:PMID
394:ISSN
299:ISBN
198:2012
1048:Fun
828:Man
748:Fry
402:PMC
384:doi
224:doi
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