By Allen Carlson
Conventional aesthetics is frequently linked to the appreciation of artwork, yet Allen Carlson exhibits how a lot of
our aesthetic event doesn't surround paintings yet nature--in our reaction to sunsets, mountains, horizons or extra mundane atmosphere.
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Didacticism, romanticism, and classicism are the prospective schemata for the knotting of artwork and philosophy, the 3rd time period during this knot being the schooling of matters, formative years particularly. What characterizes the century that has simply come to a detailed is that, whereas it underwent the saturation of those 3 schemata, it didn't introduce a brand new one.
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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).
Similarly, Shaftesbury contrasts a disinterested stance toward an object with using it for some purpose. Second, Hutcheson elaborates Shaftesbury’s conception, expanding the idea so as to exclude not simply personal and self-serving utilitarian interest, but also interest of a more general nature and in particular cognitive interest. 12 In light of even these extremely sketchy remarks about disinterestedness, it is clear that if aesthetic experience is analyzed in terms of disinterestedness in either the second or the third sense, then there is indeed a necessary conflict between aesthetic experience and any experience involving an understanding of meanings by means of knowledge gained through education or training.
Even though this position is theoretically weaker than the other two, it is yet adequate for addressing Twain’s conflict between his two experiences of the river. ” Such an experience is a paradigm of the kind that this position claims is in conflict with aesthetic appreciation. The pilot’s particular understanding of the meanings of the water, the understanding of hidden reefs, changing channels, dangerous shoals, new snags, and the like, is exactly the kind of self-serving utilitarian interest in the river that seemingly interferes with aesthetic experience, indeed perhaps even destroys the possibility of such experience.
Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture by Allen Carlson