The Beauty of Environment: A General Model for Environmental Aesthetics Page: 15
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what blue? (indigo, marine-blue) or a spectrum analysis from the natural sciences. In answering the
question "in what way harmonic?" one is forced to describe the forms, colors, etc. of the object, and
the totality formed by them: one is forced to decide what are the essential components, and in what
way they form one hierarchic system. Harmony and similar concepts must be broken down into
their elements, to their smallest ingredients and factors. All of this presupposes interpretation of the
object, not only more accurate observation, or more extended linguistic classification of the
observation.
In this way it is possible to give more accurate and detailed grounds for beautiful. The fact that
beauty is a secondary property, which is connected to primary properties, can be seen in the fact
that it is not possible for there to be two objects that differ only in the fact that the one is beautiful,
the other not. This difference presupposes a difference at the level of the primary properties
(structure, color, form); classification must then also be seen as some kind of a primary property
(the same object may be beautiful as a natural formation, but ugly as a sculpture). Correspondingly
two objects may be beautiful even though they are very different. Beauty is a secondary property
dependent on primary properties, but no primary properties as such are absolutely relevant, but
rather their significance depends on the basic criteria of taste.
The tasks of the criticism of art. The use of a work of art means that the work is presented as an
object for criticism - for description, interpretation, and evaluation - expressly as a work of art
[Beardsley 1958: 10- I!; see also 1970b]; emotional and rational pleasure are sought through examination.
This is the most important sub-type of aesthetic use. In interpretation meanings that lie beneath the
surface are also sought; the work is valued in relation to how well it has succeeded in its task. The
activity of criticism is concentrated on what is regarded as relevant within the framework of
prevailing conventions.
Depiction is the presentation of the work as in a news report; interpretation the analysis of the
work according to certain methods; and evaluation the determination of the worth of the work.
The criteria of worth that appear to have gained the widest support are those put forward by
Beardsley; unity, complexity, and intensity [Beardsley 1958" esp. 462]. However, the manner of
realization is individual. Although it is possible to be of the opinion that each work is individual,
one is unavoidably forced to make comparisons: goodness is in the first place an individual's being
better in relation to other representatives of the type, in the second place - in some cases - the
type's being better in relation to other types (for example circus art that emphasizes technical ability
does not perhaps offer quite as broad possibilities for expression as most of the performing arts).
B. Environmental aesthetics at the intersection of traditions
1. The field of research
The significance of a compound term is generally recognized as being more than the sum of its
parts. However, it is possible to seek a tentative answer to the question, what is environmental
aesthetics, by asking what is the environment, and what is aesthetics.
a. The environment
The environment is that which surrounds us (in the centre of which we are as observers) which we15
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Sepänmaa, Yrjö. The Beauty of Environment: A General Model for Environmental Aesthetics, book, 1993; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc52173/m1/33/: accessed April 23, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Center For Environmental Philosophy.