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International audience ; This article aims at showing how environmental aesthetics relates to the common environment, the ordinary environment that we discuss, share, and live in. Aesthetics has primarily been understood in relation to art and art history, but it has now been emancipated from this framework of interpretation. In the wake of John Dewey, aesthetics has become the problem of experience as ordinary sensitivity. One can even think that it is a question of adequately defining the world of sensitivity that rests on the faculty of perception: both the capacity to perceive and the concept of the perceptual commons that follows from this. The forms that are perceived could then very well be understood as those we have in common and that we discuss in questions of policy (formal commons). Arnold Berleant, in his essay "The Aesthetic Politics of Environment," explains: Such a vision brings us to the need for recognizing and shaping environment. It may be that the perceptual commons identifies the establishing conditions of the human environment, that is, of the human world, and that in shaping environment we are enhancing and making coherent all its participating constituents.[1] In the remarks that follow I would like to show just how much aesthetic engagement, involving active participation in the appreciative process, sometimes by overt physical action but always by creative perceptual involvement,[2] concerns urban lives and also, in spite of the eminently artificial nature of the urban environment, how much it draws on the depth of the perceptual experience involved. Indeed, if there is knowledge in our city-dwellers' gaze, it is not this erudition that gives the aesthetic experiences their depth and liveliness, but the human capacity to project ourselves into these environments, to feel connected to them ecologically.

International audience ; This article aims at showing how environmental aesthetics relates to the common environment, the ordinary environment that we discuss, share, and live in. Aesthetics has primarily been understood in relation to art and art history, but it has now been emancipated from this framework of interpretation. In the wake of John Dewey, aesthetics has become the problem of experience as ordinary sensitivity. One can even think that it is a question of adequately defining the world of sensitivity that rests on the faculty of perception: both the capacity to perceive and the concept of the perceptual commons that follows from this. The forms that are perceived could then very well be understood as those we have in common and that we discuss in questions of policy (formal commons). Arnold Berleant, in his essay "The Aesthetic Politics of Environment," explains: Such a vision brings us to the need for recognizing and shaping environment. It may be that the perceptual commons identifies the establishing conditions of the human environment, that is, of the human world, and that in shaping environment we are enhancing and making coherent all its participating constituents.[1] In the remarks that follow I would like to show just how much aesthetic engagement, involving active participation in the appreciative process, sometimes by overt physical action but always by creative perceptual involvement,[2] concerns urban lives and also, in spite of the eminently artificial nature of the urban environment, how much it draws on the depth of the perceptual experience involved. Indeed, if there is knowledge in our city-dwellers' gaze, it is not this erudition that gives the aesthetic experiences their depth and liveliness, but the human capacity to project ourselves into these environments, to feel connected to them ecologically.

International audience ; This article aims at showing how environmental aesthetics relates to the common environment, the ordinary environment that we discuss, share, and live in. Aesthetics has primarily been understood in relation to art and art history, but it has now been emancipated from this framework of interpretation. In the wake of John Dewey, aesthetics has become the problem of experience as ordinary sensitivity. One can even think that it is a question of adequately defining the world of sensitivity that rests on the faculty of perception: both the capacity to perceive and the concept of the perceptual commons that follows from this. The forms that are perceived could then very well be understood as those we have in common and that we discuss in questions of policy (formal commons). Arnold Berleant, in his essay "The Aesthetic Politics of Environment," explains: Such a vision brings us to the need for recognizing and shaping environment. It may be that the perceptual commons identifies the establishing conditions of the human environment, that is, of the human world, and that in shaping environment we are enhancing and making coherent all its participating constituents.[1] In the remarks that follow I would like to show just how much aesthetic engagement, involving active participation in the appreciative process, sometimes by overt physical action but always by creative perceptual involvement,[2] concerns urban lives and also, in spite of the eminently artificial nature of the urban environment, how much it draws on the depth of the perceptual experience involved. Indeed, if there is knowledge in our city-dwellers' gaze, it is not this erudition that gives the aesthetic experiences their depth and liveliness, but the human capacity to project ourselves into these environments, to feel connected to them ecologically.

International audience This article aims at showing how environmental aesthetics relates to the common environment, the ordinary environment that we discuss, share, and live in. Aesthetics has primarily been understood in relation to art and art history, but it has now been emancipated from this framework of interpretation. In the wake of John Dewey, aesthetics has become the problem of experience as ordinary sensitivity. One can even think that it is a question of adequately defining the world of sensitivity that rests on the faculty of perception: both the capacity to perceive and the concept of the perceptual commons that follows from this. The forms that are perceived could then very well be understood as those we have in common and that we discuss in questions of policy (formal commons). Arnold Berleant, in his essay "The Aesthetic Politics of Environment," explains: Such a vision brings us to the need for recognizing and shaping environment. It may be that the perceptual commons identifies the establishing conditions of the human environment, that is, of the human world, and that in shaping environment we are enhancing and making coherent all its participating constituents.[1] In the remarks that follow I would like to show just how much aesthetic engagement, involving active participation in the appreciative process, sometimes by overt physical action but always by creative perceptual involvement,[2] concerns urban lives and also, in spite of the eminently artificial nature of the urban environment, how much it draws on the depth of the perceptual experience involved. Indeed, if there is knowledge in our city-dwellers' gaze, it is not this erudition that gives the aesthetic experiences their depth and liveliness, but the human capacity to project ourselves into these environments, to feel connected to them ecologically.

International audience ; This article aims at showing how environmental aesthetics relates to the common environment, the ordinary environment that we discuss, share, and live in. Aesthetics has primarily been understood in relation to art and art history, but it has now been emancipated from this framework of interpretation. In the wake of John Dewey, aesthetics has become the problem of experience as ordinary sensitivity. One can even think that it is a question of adequately defining the world of sensitivity that rests on the faculty of perception: both the capacity to perceive and the concept of the perceptual commons that follows from this. The forms that are perceived could then very well be understood as those we have in common and that we discuss in questions of policy (formal commons). Arnold Berleant, in his essay "The Aesthetic Politics of Environment," explains: Such a vision brings us to the need for recognizing and shaping environment. It may be that the perceptual commons identifies the establishing conditions of the human environment, that is, of the human world, and that in shaping environment we are enhancing and making coherent all its participating constituents.[1] In the remarks that follow I would like to show just how much aesthetic engagement, involving active participation in the appreciative process, sometimes by overt physical action but always by creative perceptual involvement,[2] concerns urban lives and also, in spite of the eminently artificial nature of the urban environment, how much it draws on the depth of the perceptual experience involved. Indeed, if there is knowledge in our city-dwellers' gaze, it is not this erudition that gives the aesthetic experiences their depth and liveliness, but the human capacity to project ourselves into these environments, to feel connected to them ecologically.

International audience ; This article aims at showing how environmental aesthetics relates to the common environment, the ordinary environment that we discuss, share, and live in. Aesthetics has primarily been understood in relation to art and art history, but it has now been emancipated from this framework of interpretation. In the wake of John Dewey, aesthetics has become the problem of experience as ordinary sensitivity. One can even think that it is a question of adequately defining the world of sensitivity that rests on the faculty of perception: both the capacity to perceive and the concept of the perceptual commons that follows from this. The forms that are perceived could then very well be understood as those we have in common and that we discuss in questions of policy (formal commons). Arnold Berleant, in his essay "The Aesthetic Politics of Environment," explains: Such a vision brings us to the need for recognizing and shaping environment. It may be that the perceptual commons identifies the establishing conditions of the human environment, that is, of the human world, and that in shaping environment we are enhancing and making coherent all its participating constituents.[1] In the remarks that follow I would like to show just how much aesthetic engagement, involving active participation in the appreciative process, sometimes by overt physical action but always by creative perceptual involvement,[2] concerns urban lives and also, in spite of the eminently artificial nature of the urban environment, how much it draws on the depth of the perceptual experience involved. Indeed, if there is knowledge in our city-dwellers' gaze, it is not this erudition that gives the aesthetic experiences their depth and liveliness, but the human capacity to project ourselves into these environments, to feel connected to them ecologically.

This thesis is a study of the aesthetics of Icelandic landscapes. The aim of the thesis is to gain a deeper understanding of the meaning of landscape and the values which are derived from the aesthetic experience of Icelandic landscapes, and to think of ways of integrating that meaning and value into environmental decision-making. Icelandic landscapes are often praised for their unique beauty; they are seen as Iceland's most important national symbol and as a core aspect of the Icelandic national identity. However, there has been a lack of a proper language to describe the aesthetic experience of Icelandic landscapes and the meanings and values associated with them. In order to find this language and its proper place in the political systems of planning and decision-making this thesis first explores the concepts of beauty, landscape, and the aesthetic from a phenomenological point of view. The phenomenological approach provides the possibility of getting beyond the narrow dualistic understanding of the concepts of beauty and landscape that has led to the exclusion of aesthetic values in decision-making on the grounds that they are too subjective and difficult to measure. Secondly, the thesis examines the actual aesthetic experiences of two Icelandic landscape types (glaciers and geothermal landscapes) through phenomenological and qualitative research methods, and reflects philosophically on the meaning and value derived from these experiences. The way we understand the meaning and value of landscape directly affects the methods and approaches we use to deal with it in decision-making, and hence the last part of the thesis consists in an elaboration of how the understanding of landscape, beauty and aesthetic value provided in this thesis can be made productive in our approach to these issues in decision-making. ; Ritgerð þessi byggir á rannsókn á fagurfræði íslensks landslags. Markmið ritgerðarinnar er að öðlast dýpri skilning á merkingu landslags og þeirra gilda sem eru tengd við fagurfræðilega upplifun af íslensku landslagi; og að finna leiðir til þess að taka megi tillit til slíkrar merkingar og gilda í ákvarðanatöku um náttúruvernd og -nýtingu. Íslenskt landslag er þekkt fyrir einstaka fegurð sína; rannsóknir hafa sýnt að landslagið er eitt mikilvægasta þjóðartákn Íslendinga og á sterkan þátt í sjálfsmynd þjóðarinnar. Samt sem áður hefur skort tungumál til þess að lýsa fagurfræðilegum upplifunum af íslensku landslagi og þeirri merkingu og gildum sem tengd eru við þær. Til þess að leita leiða til að þróa tungumál sem nær utan um gildi og merkingu fagurfræðilegra upplifana varpar ritgerðin í fyrsta lagi ljósi á landslagshugtakið, fegurðarhugtakið og fagurfræði út frá sjónarhorni fyrirbærafræðinnar. Þessi fyrirbærafræðilega nálgun býður upp á möguleikann á því að komast handan þess þrönga skilnings er byggir á tvíhyggju sem hefur einkennt hefðbundnar túlkanir á þessum hugtökum. Það er þessi tvíhyggja sem hefur leitt til þess að fagurfræðileg gildi hafa verið hundsuð í ákvarðanatöku á þeim forsendum að þau séu of huglæg og þess vegna illmælanleg. Í öðru lagi er í ritgerðinni leitast við að varpa ljósi á raunverulegar fagurfræðilegar upplifanir af tveimur íslenskum landslagsgerðum (jöklum og háhitasvæðum) með því að nota fyrirbærafræðilegar og eigindlegar rannsóknaraðferðir, og að greina heimspekilega þá merkingu og gildi sem leiða má af þessum upplifunum. Skilningur okkar á merkingu og gildi landslags hefur bein áhrif á þær aðferðir og nálganir sem notast er við til þess að meta landslag þegar kemur að ákvarðanatöku, og því fjallar síðasti hluti ritgerðarinnar um það hvernig sá skilningur á landslagi, fegurð og hinu fagurfræðilega sem ritgerðin byggir á getur komið að gagni í nálgunum er varða landslagsmál í ákvarðanatöku. ; Háskólasjóður Eimskipafélags Íslands, RANNÍS, EDDA Center of Excellence, Umhverfis– og orkurannsóknasjóður Orkuveitu Reykjavíkur, Náttúruverndarsjóður Pálma Jónssonar, Heimspekisjóður Brynjólfs Bjarnasonar

How did realist fiction alter in the effort to craft forms and genres receptive to the dynamism of an expanding empire and globalizing world? Do these nineteenth-century variations on the "geopolitical aesthetic" continue to resonate today? Crossing literary criticism, political theory, and longue duree history, 'The Victorian geopolitical aesthetic' explores these questions from the standpoint of mid-nineteenth-century novelists such as Wilkie Collins, George Eliot, Gustave Flaubert, and Anthony Trollope as well as successors including E. M. Forster and the creators of recent television serials. By looking at the category of "sovereignty" at multiple scales and in diverse formal, geographic, and historical contexts, Lauren M. E. Goodlad shows that the ideological crucible for "high" realism was not a hegemonic liberalism. It was, rather, a clash of modern liberal ideals struggling to distintricate themselves from a powerful conservative vision of empire while striving to negotiate the inequalities of power along lines of race, gender, nationality, and ethnicity which a supposedly universalistic liberalism had helped to generate. The material occasion for the mid-Victorian era's rich realist experiments was, thus, the transition from an informal empire of trade that could be celebrated as "liberal" to a neo-feudal imperialism that only Tories could warmly embrace. In this way the book places realism's "geopolitical aesthetic" at the heart of recurring modern experiences of breached sovereignty, forgotten history, and subjective exile. The Coda, titled "The Way We Historicize Now," concludes the book with connections to recent debates about "surface reading" "distant reading," and the hermeneutics of suspicion

Introducing the new urban aesthetic -- The new urban aesthetic : a conceptual framework -- The conceived aesthetics of urban redevelopment : the case of Msheireb Downtown, Qatar -- The perceived aesthetics of digital urbanism : feeling digital embodiment in smart Milton Keynes -- The lived aesthetic of urban social media : anticipating the Culture Mile's Future -- The new urban aesthic and its power -- Conclusion : the differentiation and potentialities of the new urban aesthetic.

"To what extent do urban dwellers relate to their lived and imagined environment through aesthetic perceptions, and aspirations? This book approaches experiences of urban aesthetics not as an established framework, defined by imposed norms or legislations, but as the result of a continuous reflexive and proactive gaze, a complex and deep engagement of the mind, body and sensibilities. It uses empirical studies ranging from China, India to Western Europe. Three axes are privileged. The first considers urban everyday aesthetic experiences in the long-term as a historical production, from medieval Italy to a future imagined by science fiction. The second examines the impact of aestheticizing everyday material realities in neighbourhoods, and the tensions and conflicts these engender around urban commons. Finally, the third axis considers these relationships as aesthetic inequalities, exacerbated in a new age of urban development. The book combines local and transnational scales with an interdisciplinary approach, bringing together historians, sociologists, cultural geographers, anthropologists, architects, and contemporary art curators. They illustrate the importance of combining different social science methods and functional perspectives to study such complex social and cultural realities as cities. This book will be of interest to students, scholars and practitioners of humanities and social sciences, cultural and urban studies, architecture and political geography"--

"Bethany Henning argues that within the naturalistic strains of American philosophy, there is an implicit theory of the unconscious that finds its fullest expression within the work of John Dewey. Although the unconscious contributes to all experience, it plays a principal role in experiences that are emphatically aesthetic"--

This paper explores two intertwined subjects in the cultural and artistic modernity: the aesthetic experience of nature and the understanding of temporality in terms of progress. We can find these subjects in the Colombian project named Comisión Corográfica –considered the cultural and scientific most important project in Colombia'n history of Nineteenth Century. The project was conceived on the context of liberal reforms and it grouped intellectuals, scientists and artists like Manuel Ancízar, Agustín Codazzi y Carmelo Fernández. The analysis will be make from the perspective of a history of ways of aesthetic experience that was formulated by Hans-Robert Jauss. From this research perspective we can ask by different ways of artistic praxis and aesthetic appreciation of world. In addition, this perspective allows understand the relation between particular ways of aesthetics experience and political processes of modernity. The paper concerns specifically the conception of nature and progress in Alexander von Humboldt and Agustín Codazzi in as much that it were determining elements in the Comisión Corográfica. ; El artículo de reflexión plantea la exploración de dos temáticas que se entrelazan en la modernidad cultural y artística: la experiencia estética de la naturaleza y la comprensión de la temporalidad en términos de progreso. En la historia cultural de Colombia este entrelazamiento resulta evidente en el caso de estudio de la Comisión Corográfica. Este ha sido considerado el proyecto científico y cultural más ambicioso del siglo xix. Fue concebido dentro de un espíritu de reformismo liberal y agrupó intelectuales, científicos y artistas de gran importancia, como Manuel Acízar, Agustín Codazzi y Carmelo Fernández, entre otros. Para analizar las temáticas planteadas se empleará la perspectiva de investigación formulada por Hans-Robert Jauss en términos de una historia de las formas de experiencia estética. Esta perspectiva permite preguntarse por el surgimiento histórico de diversas formas de la praxis artística y de la apreciación estética del mundo; adicionalmente, permite plantear la relación que existe en cada caso entre las formas de experiencia estética y los procesos políticos de la modernidad. El artículo se detiene particularmente en las figuras de Alexander von Humboldt y Agustín Codazzi para analizar la concepción de la naturaleza y del progreso en la cual se apoyan y que determinó en buena medida la perspectiva de la Comisión Corográfica. ; O artigo de reflexão apresenta a exploração de dois temas que são tecidas na modernidade cultural e artística: a experiência estética da natureza e a compreensão da temporalidade em termos de progresso. Na história cultural da Colômbia este emaranhamento é evidente no caso de estudo da Comissão Corográfica. Este tem sido considerado o mais ambicioso projeto científico e cultural do século XIX. Ele foi concebido num espírito de reformismo liberal e agrupou intelectuais, cientistas e artistas de grande importância, como Manuel Acízar, Agustin Codazzi e Carmelo Fernández, entre outros. Para analisar as questões planteadas vai-se utilizar a perspectiva de pesquisa formulada por Hans Robert Jauss, em termos de uma história das formas de experiência estética. Essa perspectiva permite preguntar-se pelo surgimento histórico de várias formas de práxis artística e da apreciação estética do mundo; além disso, permite plantear a relação existente em cada caso entre as formas de experiência estética e os processos políticos da modernidade. O artigo particularmente pára nas figuras de Alexander von Humboldt e Agustín Codazzi para analisar a concepção da natureza e do progresso em que descansam, e que determinou principalmente a perspectiva da Comissão Corográfica.

This paper explores two intertwined subjects in the cultural and artistic modernity: the aesthetic experience of nature and the understanding of temporality in terms of progress. We can find these subjects in the Colombian project named Comisión Corográfica –considered the cultural and scientific most important project in Colombia'n history of Nineteenth Century. The project was conceived on the context of liberal reforms and it grouped intellectuals, scientists and artists like Manuel Ancízar, Agustín Codazzi y Carmelo Fernández. The analysis will be make from the perspective of a history of ways of aesthetic experience that was formulated by Hans-Robert Jauss. From this research perspective we can ask by different ways of artistic praxis and aesthetic appreciation of world. In addition, this perspective allows understand the relation between particular ways of aesthetics experience and political processes of modernity. The paper concerns specifically the conception of nature and progress in Alexander von Humboldt and Agustín Codazzi in as much that it were determining elements in the Comisión Corográfica. ; El artículo de reflexión plantea la exploración de dos temáticas que se entrelazan en la modernidad cultural y artística: la experiencia estética de la naturaleza y la comprensión de la temporalidad en términos de progreso. En la historia cultural de Colombia este entrelazamiento resulta evidente en el caso de estudio de la Comisión Corográfica. Este ha sido considerado el proyecto científico y cultural más ambicioso del siglo xix. Fue concebido dentro de un espíritu de reformismo liberal y agrupó intelectuales, científicos y artistas de gran importancia, como Manuel Acízar, Agustín Codazzi y Carmelo Fernández, entre otros. Para analizar las temáticas planteadas se empleará la perspectiva de investigación formulada por Hans-Robert Jauss en términos de una historia de las formas de experiencia estética. Esta perspectiva permite preguntarse por el surgimiento histórico de diversas formas de la praxis artística y de la apreciación estética del mundo; adicionalmente, permite plantear la relación que existe en cada caso entre las formas de experiencia estética y los procesos políticos de la modernidad. El artículo se detiene particularmente en las figuras de Alexander von Humboldt y Agustín Codazzi para analizar la concepción de la naturaleza y del progreso en la cual se apoyan y que determinó en buena medida la perspectiva de la Comisión Corográfica. ; O artigo de reflexão apresenta a exploração de dois temas que são tecidas na modernidade cultural e artística: a experiência estética da natureza e a compreensão da temporalidade em termos de progresso. Na história cultural da Colômbia este emaranhamento é evidente no caso de estudo da Comissão Corográfica. Este tem sido considerado o mais ambicioso projeto científico e cultural do século XIX. Ele foi concebido num espírito de reformismo liberal e agrupou intelectuais, cientistas e artistas de grande importância, como Manuel Acízar, Agustin Codazzi e Carmelo Fernández, entre outros. Para analisar as questões planteadas vai-se utilizar a perspectiva de pesquisa formulada por Hans Robert Jauss, em termos de uma história das formas de experiência estética. Essa perspectiva permite preguntar-se pelo surgimento histórico de várias formas de práxis artística e da apreciação estética do mundo; além disso, permite plantear a relação existente em cada caso entre as formas de experiência estética e os processos políticos da modernidade. O artigo particularmente pára nas figuras de Alexander von Humboldt e Agustín Codazzi para analisar a concepção da natureza e do progresso em que descansam, e que determinou principalmente a perspectiva da Comissão Corográfica.

The article provides an analysis of the aesthetic views of one of an interesting and original, but still, unfortunately, little studied Russian philosopher, V.E. Sesemann (1884–1963). Aesthetics occupied a leading position in Seseman's philosophical constructions, while remaining fully embedded in the philosophy of the Russian thinker. Continuing the traditions of transcendental philosophy, Sesemann considers aesthetics as a general theoretical discipline that combines all private and separate studies of the theme of beauty. As in his theory of knowledge, the fundamental element of his aesthetics is the phenomenon of experience, which is the general pre-subject basis of Sesemann's entire philosophical system. At the same time, however, aesthetic experience, in contrast to experience as such, is experience of a special kind. When identifying the specifics of aesthetic experience, the Russian philosopher attaches special importance to the study of the problem of form, which explains his attention to the work of Russian formalists. Arguing with the formalists and the German art theorist Heinrich Wölfflin and defending the nature of the form as lively and rhythmic, he also sees the positive aspects of these teachings. Sesemann develops his aesthetic ideas in a discussion with contemporary aesthetic theories. It is emphasized that Sesemann addressed the problems of aesthetics throughout his life and expressed his views on a variety of aesthetic problems: from theoretical and methodological to concrete practical and even applied ones. In his aesthetic concept, the Russian philosopher Vasily Emilevich Seseman tries to productively synthesize neo-Kantian and phenomenological approaches.