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, Helena Siipi explores some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects.
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).
This volume of RCC Perspectives, featuring artwork by Australian artist Mandy Martin, is a tribute to the wonderful career of Jane Carruthers.
This volume of RCC Perspectives, featuring artwork by Australian artist Mandy Martin, is a tribute to the wonderful career of Jane Carruthers.
Waste is never completely or permanently “out of sight.” Once discarded, it undergoes transformations, often reappearing elsewhere in new forms. In this volume of RCC Perspectives, scholars from different disciplines—from history and art history, urban geography, environmental studies, and anthropology—investigate the traces waste leaves behind in the course of its travels.
Dudley draws on her experience of researching the Severn River, UK, to reflect on what it means to know a place. The river is constituted through legal documents, maps, regulations, through the lived experience of recreational users, and through imaginative and artistic practices. These multiple ways of knowing a river can inform philosophies of place and space.
Nicola von Thurn’s statement on her art installation, Staged Wilderness and Male Dreams, based on the RCC workshop “Men and Nature.”
Lindsay Kelley investigates the multispecies power structures playing out in two of Beatriz da Costa’s projects, Dying for the Other and the Anti-cancer Survival Kit.
In looking back at Henri Bergson and Samuel Butler through contemporary art, Susan Ballard suggests that in the art gallery can provide an opportunity to locate ourselves in the place of others. She argues that sympathy read alongside machinic evolution can offer a new approach to the ecological disaster of species extinction.