Environmental Aesthetics and Kinship with the More-than-Human
The way we perceive and appreciate our surroundings influences how we engage with them. Environmental aesthetics, as a branch of philosophy, interrogates this interaction, focusing on how we aesthetically engage with nature and our built environments. In an era defined by ecological crises and heightened awareness of the interconnectedness of life, the study of environmental aesthetics can guide everyday practices that foster a deeper kinship with the more-than-human world. This article will explore the main and lesser-known theories of environmental aesthetics, key contributors to the field, and how these ideas relate to nurturing a connection to the more-than-human in daily life.
The Emergence of Environmental Aesthetics
Environmental aesthetics, though relatively modern, has deep philosophical roots. Its core questions revolve around how we experience, appreciate, and value natural and human-made environments. Early discussions about the aesthetic value of nature date back to the 18th century, especially within the framework of Enlightenment philosophy. Edmund Burke and Immanuel Kant both explored the sublime and the beautiful, foundational concepts in how humans understand the natural world. For Burke, the sublime referred to the awe-inspiring vastness or power of nature, while the beautiful was found in harmony, gentleness, and smaller-scale landscapes. Kant expanded these ideas by introducing the notion that beauty, including that found in nature, is subjective but follows a rational structure that can be universally appreciated.
Despite these early contributions, environmental aesthetics as an independent field gained prominence only in the 20th century, when it diverged from traditional aesthetics, which had focused primarily on art. Philosophers and environmental thinkers began to recognize that aesthetic appreciation did not have to be confined to art galleries but could (and should) be applied to the broader environment. This shift was particularly urgent as environmental degradation brought attention to the ethical dimensions of how we perceive and interact with the world around us.
Key Theories in Environmental Aesthetics
Several theories have emerged over time to account for the complex ways humans relate to their environments. While the field shares some principles with art-based aesthetics, it goes beyond the gallery to question how everyday life, ecological awareness, and moral responsibility intersect.
1. Scientific Cognitivism
Scientific cognitivism, one of the dominant positions in environmental aesthetics, holds that appropriate aesthetic appreciation of nature requires scientific knowledge. Championed by philosophers such as Allen Carlson, this theory posits that we can best appreciate an environment by understanding its ecological and geological processes. For instance, knowing the role of a wetland ecosystem or the geological formation of a mountain enables a richer, more informed aesthetic experience.
Carlson’s work emphasizes that appreciating nature should not be based solely on how it looks or evokes emotion but should include recognition of its underlying structures and functions. For Carlson, this prevents a shallow or romanticized view of nature that ignores ecological realities, like invasive species or disrupted ecosystems, and promotes a more respectful and ecologically responsible interaction with the environment.
2. Non-Cognitivism
In contrast to scientific cognitivism, non-cognitivist theories argue that aesthetic appreciation of the environment doesn’t need to rely on scientific knowledge. Instead, emotions, feelings, and personal experiences are the primary ways through which humans connect with their surroundings. This theory resonates with John Dewey’s concept of “immediate experience,” which suggests that individuals can have profound aesthetic encounters with nature through direct, sensory interaction rather than intellectualized understanding.
While non-cognitivism does not dismiss the value of knowledge, it foregrounds the importance of personal, subjective engagement. This approach allows for a more pluralistic understanding of nature, where different cultures and individuals may find aesthetic value in various aspects of the landscape, based on their lived experiences.
3. Aesthetic Pluralism
Aesthetic pluralism expands on the debate between cognitivist and non-cognitivist approaches by suggesting that both scientific knowledge and personal experience are valid paths to environmental appreciation. Environmental philosopher Emily Brady is a key advocate of this view. Brady’s work argues that while knowledge enriches our understanding, there is also space for a more affective, emotional response to nature. Aesthetic pluralism holds that diverse perspectives—ranging from scientific to spiritual or indigenous knowledge—can coexist, each contributing to a deeper, multifaceted appreciation of the environment.
4. The Aesthetics of Engagement
Another important theory, developed by Arnold Berleant, is the aesthetics of engagement. Berleant challenges the notion of the aesthetic “observer” and promotes a view of environmental aesthetics where humans are seen as participants in their surroundings. This contrasts with a more detached, art-gallery-style appreciation of landscapes. Instead of passively observing a scene, engagement aesthetics encourages a relational, immersive experience, where all the senses are involved, and the boundary between humans and nature is blurred.
This theory is particularly relevant to practices that foster a kinship with the more-than-human. It suggests that we need to actively engage with the environment, recognizing that we are part of it rather than outside observers. By doing so, we can develop a deeper sense of connection and responsibility toward the ecosystems that sustain us.
Lesser-Known Theories and Approaches
Beyond the dominant theories, environmental aesthetics also encompasses more nuanced, lesser-known ideas that address specific ecological or cultural concerns.
1. Everyday Aesthetics
While traditional aesthetics often focuses on exceptional experiences—such as the beauty of dramatic landscapes—everyday aesthetics, a subfield championed by Yuriko Saito, encourages us to find aesthetic value in the mundane. According to Saito, the beauty of everyday environments, like a quiet street corner or a local park, can be just as significant as grander natural scenes. This theory invites us to pay attention to the ordinary and to develop a practice of mindfulness in our daily encounters with the environment.
This perspective is vital to fostering a deeper connection with place, as it helps individuals recognize the aesthetic qualities of their immediate surroundings, encouraging an appreciation of local ecosystems and urban environments alike.
2. Indigenous Aesthetics
Another lesser-known but critical contribution to environmental aesthetics comes from indigenous philosophies and ways of knowing. Indigenous aesthetics often emphasize a reciprocal relationship with the land, where humans are deeply connected to the non-human world. Aesthetic appreciation, in this context, is not separate from ethics or spirituality; it is about acknowledging the interconnectedness of all beings and the land.
For example, many indigenous traditions view nature not as an object to be appreciated for its beauty but as a living entity that requires respect and care. This view challenges Western aesthetics’ focus on detached appreciation and underscores the importance of relational aesthetics, where the aesthetic experience is tied to practices of stewardship and reciprocity.
3. Dark Aesthetics
Dark aesthetics is a more recent theoretical development that challenges the traditional focus on beauty in nature. Instead, it examines how we might appreciate elements of the environment that are typically seen as ugly, disturbing, or threatening. This includes industrial ruins, polluted landscapes, or even natural phenomena that evoke discomfort, such as decaying matter. Advocates of dark aesthetics argue that these environments have their own aesthetic value and that recognizing this can help us confront ecological damage more honestly.
By acknowledging the beauty and significance of damaged or altered landscapes, dark aesthetics encourages us to think critically about human impact on the environment and to engage with ecological restoration in a meaningful way.
Major Contributors to Environmental Aesthetics
Allen Carlson is a leading figure, particularly known for advocating scientific cognitivism. His work emphasizes the importance of ecological knowledge in shaping our aesthetic appreciation of nature.
Emily Brady has been instrumental in promoting aesthetic pluralism, offering a nuanced view that incorporates both cognitive and affective dimensions of aesthetic appreciation.
Arnold Berleant pioneered the aesthetics of engagement, advocating for an immersive, participatory approach to the environment.
Yuriko Saito is known for her contributions to everyday aesthetics, which highlights the importance of finding beauty in the mundane and ordinary aspects of life.
Other notable thinkers include Glenn Parsons, who has contributed to discussions of urban environmental aesthetics, and Ned Hettinger, who explores the ethics of environmental aesthetics.
Environmental Aesthetics and Everyday Practice
Environmental aesthetics isn’t confined to theoretical debates; it directly informs how we interact with the world. By cultivating an aesthetic appreciation for our surroundings—whether through scientific knowledge, personal experience, or a mix of both—we can foster a deeper connection to the more-than-human. This is particularly important in the practice of kincraft, which emphasizes nurturing biophilic relationships within everyday life. Paying attention to local landscapes, seasonal changes, bird song, and the materials we use can heighten our aesthetic sensitivity, leading to more sustainable, place-centered practices.
Whether it’s through engaging with the land by carving utensils from locally sourced wood, repairing garments with traditional techniques, or simply walking mindfully in a nearby forest, environmental aesthetics offers a pathway to nurture kinship with the more-than-human. This aesthetic awareness—rooted in both respect and participation—can ultimately lead to a more ecologically responsible and fulfilling relationship with the landscapes that sustain us.
Conclusion
Environmental aesthetics challenges us to look beyond traditional art-based appreciation and to cultivate a deeper, more engaged relationship with the world around us. From scientific cognitivism and non-cognitivism to lesser-known ideas like indigenous and dark aesthetics, the field offers a diverse array of perspectives that can inform how we live in and care for our environments. By integrating these ideas into everyday practices, we can nurture a meaningful kinship with the more-than-human, fostering a deeper sense of responsibility and connection to the landscapes we call home.
