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Allen Carson.docx

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Allen Carson Appreciation and the Natural EnvironmentZiff classification of style is of the essence I Art objects we know both what and how to aesthetically appreciateWhat We can distinguish a work and its parts from that which is not part of it We can distinguish its aesthetically relevant aspects What acts of aespectionobservation to perform in regards to different works We have a knowledge of how to appreciate Grounds We are people and people made these works with the purpose of aesthetic appreciation This knowledge must be accessible Ex Painting ends at the frame colors are aesthetically important where it hangs is not Look at rather than listen Point holds for other cases In knowing the type we know how to appreciate it All works have boundarieswhen discussing venetian paintings They are important to how we perceive art currently but is not the whole picture Aesthetic Appreciation of Nature What and How to Aesthetically Appreciate Nature The above consensus cannot be applied to the natural environmentOpen question II Paradigms of aesthetic appreciation Prima Facie that seem applicable Examine old paradigms that may apply First Object ModelNonrepresentational sculpture best fits this model of appreciation Appreciate as the physical sculpture that it is Sensuous and design qualities as well as representative qualities are important Need not to represent anything external to itself Brancusi sculpture Bird in Space No rep connections with reality and no relational connections with its immediate surroundings All while holding sig aesthetic qualities We as people isolate these objects in a similar way to nature Considerations which support the plausibility of this model for appreciation of the natural environmentNatural objects are appreciated often in this way Model fits with one feature of natural objects do not have representational ties to the rest of reality Involves an accepted traditional aesthetic approach Subjectobject relationship
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