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Mission/Issues
If positive aesthetic responses lead to care we must establish a way to generate aesthetic response that lead to sustainable care
if people see how beautiful such ecosystems (coral reefs) are, they will tend to act in ways that will better protect these and other environments
Some actions are viewed as ways of caring for landscape but are actually harmful to it
Mowing lawns with small gasoline engines Fertilizing with chemicals that pollute the ground water
What is it to have an aesthetic experience of nature? When is this experience of the right sort?
Believes that meaningful lives are as much aesthetic as moral and involve these two dimensions in interwoven dependence
Ethics and Aesthetics are inseparable but different
Can help us locate its aesthetic properties and sustain our attention to them If you appreciate something under the wrong category, you can make appreciative mistakes Aesthetic response to not nature that are not guided by knowledge frequently lead to bad environmental policies
Scrutiny based upon and enriched by scientific understanding of the workings of nature Response must be to nature and not something else
Claims that Carlson fails to account for the significance of imagination in our experiences of nature
Eaton believes fiction (manifested of imagination) plays large role in shaping way culture perceives & conceives environment
Eaton: Must have understanding of role that artistic culture plays in shaping human attitudes toward environment
Few places that are not to some degree a product of human creation Humans are natural
Eaton: fiction construed broadly to refer to objects created by and appealing to the imagination Brady: imagining interpreted as visualizing or otherwise coming up with ranges of possibilities
Brady agrees with Immanuel Kants position that a free play of imagination is central to human aesthetic pleasure
Respond to objects as we please Free to think of a tree as a person, animal, tower etc.
Natural objects lack intentional acts of an artist which could give us cues that direct our attention and thus imagination
No need to be concerned with what nature is intended to express or how it functions as an object freedom is expanded
Importance of Knowledge
Eaton does not think that this distinction between art & nature, entails that information about context is either nonexistent or irrelevant
Eaton/Carlson insist that knowledge concerning how natural objects function within a particular context plays a major role in appreciating nature
Ex: failure to understand proper function of certain trees or forest soils has led to mismanagement of forests, even when motivated by providing aesthetic value
Forests protected from fires, (b/c burned out areas may be seen as ugly) detrimental to plants whose growth is stimulated in burned and blackened soil (warms more quickly in the sun)
Insight: aesthetic experience, interpreted in terms of imagination Ex: contemplating the fresh whiteness of a lamb and its small fragile stature evokes images of purity and naivet (152)
Too much reliance on knowledge may fail to provide framework that is clearly aesthetic
Spotting aesthetic potential Having a sense of what to look for Knowing when to clip the wings of imagination
Preventing irrelevant, shallow, nave, sentimental, responses that could impoverish appreciation
Eaton: Can responding to a white lamb with thoughts of innocence be regarded as shallow or nave?
Knowledge should do more than deepen the experiences that imagination provides
If we want to preserve and design sustainable landscapes, knowledge should direct these experiences
Issue: imaginative fancies-often directed by fictional creationscan and do lead to harmful actions
Fiction has had significant influence on attitudes, images and metaphors with which we approach nature
Influence of Fiction
Bambi
Has made it more difficult to respond to deer in terms appropriate to the role they increasingly play in the ecological systems they have come to dominate Increase in deer population/decrease in several songbirds and tree species Tend to respond as fictional account directs us to
Noble deer, who never kill Teaches children not to be violent, but also gives false impressions about actual effect of overpopulation of deer forests
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Influence of Fiction
Wetlands
Would be hard to convince lovers of The Lion King, if lion populations started to threaten environment
Influence of Fiction
Richard Formans book, Land Mosaics, discusses importance of protecting keystone species that play central role in ecosystem
Cassowary bird Territorial bird, as tall as and able to rip the guts out of a man Normally inhibits large forests Logging/fragmentation have eliminated it from several areas Eaton guesses this bird is depicted as a terrible monster in fiction, making it harder to save--but is fiction to blame for its downfall?
Fiction and imagination in general, can play a positive role in developing a sound nature aesthetic, if and only if, it is based upon, tempered by, directed and enriched by solid ecological knowledge
3 Stages in the examination of unfamiliar landscapes
*One decides whether to explore or move on If one decides to stay/explore, one the begins to gather info. Finally, one decides whether to stay longer or move on *flights of imagination may be important factor during step 1 Being deceptively intrigued by a man-eating bird may be what leads one to learn more about Cassowary Bird.
Imagination is probably essential in producing people who are able to envision new and more successful ways of designing and maintaining environments
Evidence shows that humans are genetically inclined to respond positively (be more calm) to nonthreatening nature
Genetic reasons that we prefer savannas to wetlands Education is required to show people that wetlands etc. are also valuable
Our attitudes toward nature are largely determined by metaphors (from literature and other arts) with which we conceptualize it
hit rock bottom or get at root of problem in order for ideas to blossom
Imaginatively creating new metaphors may allow us to think outside the box
There are sustainable environments that have had no help from scientific knowledge
Admits that the priority of the cognitive model is not universally required for an adequate nature aesthetic
Some object that insisting upon scientific basis for appreciation of nature takes all the fun out of it Eaton does not believe that knowledge kills aesthetic pleasure, but that it increases it Aesthetic interest is not separate from our other interests as human beings In learning what to look for, we achieve the very possibility of seeing
Conclusions
While recognizing benefits of fiction/imagination, one must constantly be aware of its possible harm
When we read thing like Bambi, we must remind ourselves to balance the story with an understanding of relation between an increasing deer population and a decreasing songbird population A proper combination of the delight that human beings take in flights of imagination with solid cognitive understanding of what makes for sustainable environments, will produce the kind of attitudes/preferences that will generate the kind of ethical care we strive for