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This reflection follows three lines of thought to discuss further what it means that nature is/might become an axis of resonance. The first line of thought refers to the aesthetic experience of nature (in the wider sense of the term) as 'Befindlichkeit' - which comes very close to Hartmut's concept of resonance in the sphere of nature, yet avoiding the pitfalls of a narrow phenomenology of a merely bourgeois aesthetics. The second line of thought moves along the frame and conditions for nature being an axis of resonance and addresses the relation between immediate experience and sociocultural mediation. The third step finally questions 'nature' as axis of resonance and offers a critique from a non-western perspective, while rehabilitating autonomy as a collective category.
2006 •
Aesthetic of nature is in this paper presented in the context of its revival in contemporary philosophy. Nature as the object of aesthetic experience and valorisation is mainly a question of traditional aesthetics, so its revival is here presented as the problem of redefinition of aesthetics in contemporary terms. The analysis encompasses examples from contemporary aesthetics, philosophy and art, and it is focused on revealing the key features of new aesthetic understanding of nature. These key features are in conclusion seen as indications of the future perspective of the development of philosophical aesthetics.
At the dawn of 'ecocriticism' as a discipline of study within the Humanities, Glotfelty and Fromm (1996), in the first general reader in the matter, defined it as the critical practice that examines the relationship between literary and cultural studies and the natural world. In general terms, during the past two decades, ecocriticism has denounced the anthropocentric and instrumental appropriation of nature that has for so long legitimized human exploitation of the nonhuman world. Exposing the logic of domination that articulates the very power relationships that both connect and separate human culture and natural life, recent trends in ecocriticism have raised awareness of the 'otherisation' of nature (Huggan and Tiffin, 2015), pointing out the need of assessing insurgent discourses that—converging with counter-discourses of race, gender or class— realize the empowerment of nature from its subaltern position. But such empowerment of nature first requires that the sundering of human and nonhuman realms is overcome since, as Kate Rigby explains, only by regaining " a sense of the inextricability of nature and culture, physis and techne, earth and artifact—consumption and destruction—would be to move beyond (…) the arrogance of humanism " (2002, p. 152). Yet, recognizing such inextricable relationship between human and natural while overcoming the arrogance of anthropocentrism entails the ecocritical admission that all cultural discourses are in fact exploitative of nature. Rigby states it clearly while explaining, " culture constructs the prism through which we know nature " (p. 154). We comprehend nature when we apprehend the world through language and representation, but nature precedes and exceeds words; it is therefore " real " (1992, p. 32) and separated by an abyss from the symbolic networks of culture that write, master, assign a meaning to and attempt to set nature in order. From this perspective, culture is not exactly the end of nature as much as it is an appropriation and colonization of nature. Culture masters, dominates and instrumentalizes the natural world. However, in a time when the " end of nature " that Bill McKibben prophesized in 1989 has been certified, when we know for a fact that it is indeed a different Earth we are living in—because by changing the climate there is not a corner of the planet that has not been affected by our actions—the evidence of global ecological endangerment compels the ecocritical debate to install environmental ethics and concerns at the crux of humanistic research. The critical enterprise is far from easy though. The argument that cultural representations of nature establish a relationship of domination and exploitation of human discourse over nonhuman reality is extendible to the critical task. As humanist critics, our regard of nature in literary and artistic representation is instrumental and anthropocentric. But the time has come to
This paper aims to construct an account of valuing nature that takes into consideration its interest and asserts its representation within human political institutions. Value, a human concept, is fundamental to human relations. This paper seeks to apply a conception of value to nature that will serve to justify and guide our actions and interactions with it. Our condition is that of dependence and being within nature, conceived holistically as ecosystem or biosphere. As such, the whole of nature can be interpreted as a system of purposes—a Kantian natural purpose. Conceived in this manner, nature invites us to consider the possibility of seeing it as a recipient of moral action. As natural purpose, we are also asked to agree with the assertion that it acts autonomously, and that its action ends with the life-support system that sustains us. All these give us a conception of nature and of its interest as potentially belonging within societal institution. They allow us to ascribe to nature moral value and political agency. Thus, we conclude with two images that appear paradoxical but that would make final sense: us in nature and nature among us.
This paper reflects on an art project developed by the author which was commissioned for the exhibition STILL LIFE/ecologies of perception in 2013 by Trust New Art . The artists brief was relatively open but demanded some kind of response to Leigh Woods where the work would be located. The Woods themselves are a National Trust nature reserve situated within walking distance of Bristol, but separated from the city by the imposing cliffs of the Avon Gorge. The resultant work ‘Autumn’ (2013) existed in two related forms - as object and as action. The object took the form of a tailored country-style suit printed with a camouflage pattern based on W. J. Mullers painting ‘Autumn’ (1833). As action it manifested itself as a series of walks beginning in Leigh Woods where Muller’s work was painted, stretching to Bristol Museum in the city centre, where the original painting now hangs. During the exhibition period the artist regularly walked this route across urban/rural thresholds wearing the camouflage suit. The whole project echoes something Tim Morton talks about in ‘Ecology Without Nature’ when he imagines an aesthetic practice that could link urban and rural perspectives. He stated that: “Romantic ecology seeks a place away from the enervating, phantasmagoric illusions of city life, as well as the industry, dirt, and noise. Might one do something perverse and combine the fantasy thing of Romantic ecology – the resonant idea of place – with the thinking generated by critical consumerism and its ultimate paragon, the urban stroller, the De Quincy, the Baudelaire? It should not be impossible in principle, since nature is already the quintessence of kitsch. But it appears so. It is as if there is a critical discourse of the country, and a critical discourse of the city, to match the other ways in which the country and the city have been kept apart in poetics and ideology”. (p. 169 Morton) This project then, asks whether a ‘sublime’ or ‘romantic’ experience necessarily precludes new ways of relating and responding to landscape.
in Imagining Nature: Practices of Cosmology and Identity,. A. Roepstorff, N. Bubandt, and K. Kull, eds. Pp. 9-26. Aarhus: Aarhus University Press.
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