By Robert Stecker
Publish 12 months note: First released February twenty fifth 2005
Praised in its unique variation for its up to date, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's new version of Aesthetics and the Philosophy of paintings preserves the key subject matters and conclusions of the unique, whereas increasing its content material, offering new positive factors, and embellishing accessibility. Stecker introduces scholars to the historical past and evolution of aesthetics, and likewise makes a massive contrast among aesthetics and philosophy of artwork. whereas aesthetics is the research of price, philosophy of paintings offers with a wider array of questions together with matters in metaphysics, epistemology, the philosophy of brain, to boot price conception. defined as a "remarkably unified advent to many modern debates in aesthetics and the philosophy of art," Stecker focuses on sympathetically laying undergo the play of argument that emerges as competing perspectives on an issue interact one another. This publication doesn't easily current an issue in its present kingdom of play, yet as a substitute demonstrates a philosophical brain at paintings assisting to increase the difficulty towards an answer.
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Additional resources for Aesthetics and the Philosophy of Art: An Introduction (2nd Edition) (Elements of Philosophy)
If the model of the appreciation of art is brought to the appreciation of nature, then we have to find analogues of these artistic features for the natural ones. This will require a more complex set of criteria of proper appreciation. 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.
Further this model allows us to engage with a great variety of views of nature from grand vistas to mundane agricultural scenes, from relatively permanent natural features to the most fleeting effects of light. What we see may be influenced by a particular style of landscape painting, but is not to be confused with it. One can go further. There is an extremely fruitful interac- Environmental Aesthetics: Natural Beauty 23 tion between landscape painting and seeing natural landscapes. This is because there are many ways of seeing, many different features of the visible world one may actively seek to focus on, and the interaction just mentioned is what enables us to explore these ways.
But the model does not claim either that what we actually see is a two-dimensional object, or that we pretend it is a representation. Further this model allows us to engage with a great variety of views of nature from grand vistas to mundane agricultural scenes, from relatively permanent natural features to the most fleeting effects of light. What we see may be influenced by a particular style of landscape painting, but is not to be confused with it. One can go further. There is an extremely fruitful interac- Environmental Aesthetics: Natural Beauty 23 tion between landscape painting and seeing natural landscapes.
Aesthetics and the Philosophy of Art: An Introduction (2nd Edition) (Elements of Philosophy) by Robert Stecker