Brady, Emily, "Don't Eat the Daisies: Disinteredness and the Situated Aesthetic"
Emily Brady puts forward a model of aesthetic appreciation based on disinterestedness, as an alternative to what she calls the hedonistic model..
Emily Brady puts forward a model of aesthetic appreciation based on disinterestedness, as an alternative to what she calls the hedonistic model..
In this paper, David E. W. Fenner explores some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects.
In this paper, Helena Siipi explores some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects.
This paper aims to introduce the German Romantic poet Novalis into the discussion of the modern ecological crisis.
Hub Zwart presents an environmental analysis of Henrik Ibsen’s A Public Enemy.
In this article Marianne O’Brien considers and reflects upon the aesthetic significance of Simon Hailwood’s conception of nature as articulated in an earlier volume of this journal in his paper ‘The Value of Nature’s Otherness’ (Hailwood 2000: 353–72).
Considering Caroline Wendling’s living artwork White Wood (2014) in northeast Scotland, the author examines the relationship between deep time, ecology, and enchantment.
Libby Robin compares two major museum exhibitions on climate change that rely heavily on the IPCC models: Uppdrag Klimat (Mission: Climate Earth), at the Royal Natural History Museum in Stockholm (Naturhistoriska Riksmuseet), Sweden; and EcoLogic, at the Powerhouse Museum, Sydney.