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Allen Carlson and Sheila Lintott (eds). Nature, Aesthetics, and Environ- mentalism

The most extensive and detailed account of the domain that concerns me here was put forward by Dewey in Art as Experience. Dewey argues that the aesthetic aspects of art and those of everyday life lie on a continuum. However, as we will see, Dewey offers a set of criteria for aesthetic experience that exclude most or all of the examples introduced above. | zlom2 08 12.11.2008 9 30 Stránka 235 REVIEWS Allen Carlson and Sheila Lintott eds . Nature Aesthetics and Environmentalism From Beauty to Duty. New York Columbia UP 2008 472 pp. ISBN 978-0-231-13887-1 The anthology Nature Aesthetics and Environmentalism edited by Sheila Lintott and Allen Carlson a pioneer of environmental aesthetics is devoted to one of the most dramatic shifts undergone by aesthetics in the second half of the twentieth century. By this shift we mean a transformation of the understanding of the relationship between artistic and extra-artistic areas of values which are probably most evident in the rehabilitation or reinvention of a path to aesthetic qualities and values of nature. The anthology is one of the current and in a way expected consequences of this transformation. Environmental aesthetics has established itself as a relatively new discipline over the last three decades and its examination is increasingly crossing over into other realms connected to our environment - whether this concerns for example environmental studies landscape architecture sustainable development environmental-planning assessment or design. This group of articles is the first comprehensive attempt critically to encapsulate not only the present state of this continuously developing discipline but also to refer to its roots and to map out its overlaps with connected problematic fields. The extensive anthology Philosophy Looks at the Arts Contemporary Readings in Aesthetics first published 1962 edited by Joseph Margolis was for a long time one of the most widely read collections. Re-edited several times the volume made an important contribution to delineating or rather confirming the boundaries of the most important tradition in predominantly Anglo-American aesthetic inquiry. Back in the early Sixties few theorists thought it odd that no attention is paid in the volume to either nature or other areas of extra-artistic aesthetic values. As Carlson himself emphasizes not a