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{\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\level1 heading 1;}
{\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\level2 heading 2;}
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\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Allen Carlson  }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Aesthetic Experience of the Natural Environment}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  [originally published 1997]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 George Santayana, Spanish-American Philosopher, 1863-1952\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 George Santayana }{\i\hich\af1\loch\f1\fs24 The Sense of Beauty}{\hich\af1\loch\f1\fs24  (1894)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The natural landscape is an indeterminate object which allows great liberty in selecting and emphasizing elements.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It is rich in suggestion and emotional stimulus.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 To be seen, and seen as beautiful, it must be composed.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Carlson:  the natural landscape is indiscriminate and promiscuous, and the problem is }{\i\hich\af1\loch\f1\fs28 what}{\hich\af1\loch\f1\fs28  and }{\i\hich\af1\loch\f1\fs28 how }{\hich\af1\loch\f1\fs28 to select for }{\b\hich\af1\loch\f1\fs28 appropriate}{\hich\af1\loch\f1\fs28  appreciation.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 There is no parallel problem in appreciation of art. There we know }{\i\hich\af1\loch\f1 what}{\hich\af1\loch\f1  and }{\i\hich\af1\loch\f1 how }{\hich\af1\loch\f1 to appreciate.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 We know to appreciate a painting}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s }{\i\hich\af1\loch\f1 delicacy }{\hich\af1\loch\f1 and not where it hangs, and we know to }{\i\hich\af1\loch\f1 look}{\hich\af1\loch\f1  at a painting.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 We know which parts are aesthetically relevant because we have made them for aesthetic appreciation.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 aspection}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We demand different acts of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 aspection}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  [  noticing aspects of things] for different kinds of work. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Knowing the classification implies knowing how to appreciate.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Nature is not art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Carlson then discusses four models of nature appreciation, rejecting the first three and promoting the fourth.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Object of Art Model (OAM):\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We appreciate the actual physical object}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s aesthetically relevant features, its sensuous, design, and abstract expressive qualities.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We can aesthetically appreciate objects of nature, for example rocks and driftwood, in accord with this.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We can actually, or imaginatively, remove the object from its surroundings, and dwell on its sensuous and expressive qualities.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Natural beige driftwood sculpture above, driftwood wall art. 1300.00.}{\hich\af1\loch\f1  \line }{\hich\af1\loch\f1\fs16 http://}{\hich\af1\loch\f1\fs16 www.alldriftwoodfurniture.com/driftwood_sculpture.html}{\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs16 .}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 This would treat it like non-representational sculpture.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Such a work is a self-contained aesthetic unit of which we appreciate its aesthetic qualities, e.g. balance and grace.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Constantin}{\hich\af1\loch\f1\fs28  Brancusi, }{\i\hich\af1\loch\f1\fs28 "}{\i\hich\af1\loch\f1\fs28 L'oiseau}{\i\hich\af1\loch\f1\fs28  }{\i\hich\af1\loch\f1\fs28 dans}{\i\hich\af1\loch\f1\fs28  }{\i\hich\af1\loch\f1\fs28 l'espace}{\i\hich\af1\loch\f1\fs28  [Bird in space]"}{\hich\af1\loch\f1\fs28  1923\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Putting a rock on a mantelpiece and appreciating it is inappropriate.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 For nature is indeterminate, and we must distinguish between appreciating nature and appreciating objects of nature.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 On one version of OAM, objects of nature, when so appreciated, become }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 readymades}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  like Duchamp}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s }{\i\hich\af1\loch\f1 Fountain}{\hich\af1\loch\f1 :\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But the appreciation of nature is lost.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Marcel Duchamp, }{\b\i\hich\af1\loch\f1\fs18 Fountain}{\b\hich\af1\loch\f1\fs18 , 1917\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Or we can appreciate the rock on a mantel only as an aesthetically pleasing object.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 But doing so still removes natural objects from their surroundings in which they were created by means of natural forces.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 For natural objects, environments of creation are aesthetically relevant, as are environments of display.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Landscape or Scenery Model (LSM)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 LSM involves appreciation of a natural environment }{\i\hich\af1\loch\f1 as if}{\hich\af1\loch\f1  it were a series of landscape paintings. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 An example of this is }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 scenic viewpoints.}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Claude glass 18}{\hich\af1\loch\f1\fs24\super th}{\hich\af1\loch\f1\fs24  century, and painting by Claude Lorrain 1655-1660\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Disadvantages of LSM\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This approach reduces a walk in the natural environment to something like a stroll through a gallery.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 There are moral problems here.  It confirms our anthropocentrism [human-centered attitude] and allows our abuse of local environments.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The aesthetic problem is that the natural environment is not a scene, not static, and not two-dimensional. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 As Ronald Hepburn puts it:  people will look in vain at nature for what can be enjoyed only in art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Human Chauvinistic Aesthetic (HCA)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 One alternative is to deny aesthetic appreciation in nature since aesthetic appreciation requires aesthetic evaluation, i.e. judging an object as an achievement.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 One version of this approach is Human Chauvinistic Aesthetic (HCA) \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 one version of this says that nature is not a work of art (there is no author}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s intention, tradition, or milieu.)\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Attack on HCA\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But HCA is countered by the orthodox view that everything is open to aesthetic appreciation, and the common sense idea that there are some instances of aesthetic appreciation of natural things, for example fiery sunsets.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Another alternative is AOE:  Aesthetics of Engagement.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This model, associated with Arnold }{\hich\af1\loch\f1\fs28 Berleant}{\hich\af1\loch\f1\fs28 , calls on us to replace abstraction with engagement, distance with immersion.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Too subjective!\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But, Carlson replies, some subject/object dichotomy is necessary for aesthetic appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 AOE is too subjective, and it seems to say we should appreciate everything.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Neither HCA nor AOE answer the }{\i\hich\af1\loch\f1\fs28 what }{\hich\af1\loch\f1\fs28 or the }{\i\hich\af1\loch\f1\fs28 when}{\hich\af1\loch\f1\fs28  questions adequately.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 HCA and AOE point to a paradigm exemplified by geographer Yi-Fu Tuan, who says that the adult must learn to be enjoying, yielding and careless like a child [I call this the Taoist model].\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-3{\pntxtb \'95}}{\hich\af1\loch\f1\fs24\ppscheme-3 Yi Fu Tuan, emeritus Professor of Geography, University of Wisconsin-Madison.}{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Tuan:  if an adult does what he suggests he might experience an environment that breaks }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 all the formal rules of euphony and aesthetic, substituting confusion for order, and yet be wholly satisfying.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 A stone sculpture of }{\hich\af1\loch\f1\fs20 Laozi}{\hich\af1\loch\f1\fs20  (c. 600-400 BCE), located north of }{\hich\af1\loch\f1\fs20 Qiamzhou}{\hich\af1\loch\f1\fs20  at the foot of Mount }{\hich\af1\loch\f1\fs20 Quingyuan}{\hich\af1\loch\f1\fs20 , China\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Objections to Tuan\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But we cannot appreciate everything.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Tuan}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s approach would only yield confusion, and would not be wholly satisfying.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It would be too far removed from aesthetic appreciation of art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 [Carlson also opposes the idea that there is one paradigm of aesthetic appreciation.]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The Natural Environmental Model (NEM)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This is Carlson}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s position:  natural and environmental science is the key to aesthetic appreciation of the natural environment.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Our response must be what John Dewey called a }{\hich\af1\loch\f1\fs28 consummatory}{\hich\af1\loch\f1\fs28  experience in which knowledge and intelligence transform raw experience, making it determinate, harmonious, and meaningful.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 We must feel the ant at least as an insect. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The sound of distant traffic may be excluded from appropriate appreciation of the environment.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Common sense and scientific knowledge is relevant to how we should appreciate an environment.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Different natural environments require different acts of }{\hich\af1\loch\f1 aspection}{\hich\af1\loch\f1 .  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Classification is essential to appropriate appreciation of nature.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 we must survey a prairie}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40  }{\hich\af1\loch\f1\fs20 Cambria prairie\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 but examine and scrutinize a forest.\line }{\b\hich\af1\loch\f1\fs18 Forest floor, Nova Scotia\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Just as with art, relevant knowledge is needed for correct appreciation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The required knowledge is provided by naturalists, ecologists, geologists and natural historians.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 NEM does not reject the traditional structure of aesthetic appreciation of art as a model for aesthetic appreciation of the natural world.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Must be composed.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 With Santayana, NEM considers the natural environment to be indeterminate and promiscuous.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Thus, the vague stimulus must be composed to be appreciated.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The composition must be in terms of common sense and scientific knowledge.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Advantages to Carlson}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s View (according to Carlson)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It encourages appreciation of nature for what it is:  this helps to dispel environmental and moral criticisms. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It is not anthropocentric.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It aligns with other areas of philosophy depending on [scientific] knowledge of the phenomena in question.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Thomas }{\hich\af1\loch\f1\fs40 Heyd}{\loch\af1\hich\f1\fs40 \'92}{\hich\af1\loch\f1\fs40 s}{\hich\af1\loch\f1\fs40  criticism of Carlson\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 It is}{\loch\af1\hich\f1\fs28 \'85}{\hich\af1\loch\f1\fs28  rather unclear that any one ever experiences the natural environment as "unruly and chaotic," except perhaps when first encountering the rapids in a turbulent, rain-swollen river, or the wind action on a lookout point on a stormy day. It quickly becomes evident to the attentive observer, though, that natural processes inevitably reveal patterns and, as a result of this, most people likely approach the natural environment with the expectation that it is rule-governed and orderly and not as "unruly and chaotic."}{\b\hich\af1\loch\f1\fs28\lang3084 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 If anything will likely strike us as "unruly and chaotic" it is, rather, human action and its results, such as garbage dumps and sewers, which intermingle the compostable and the highly toxic.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1   }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Querying Allen Carlson}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s Aesthetics and the Environment.}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  }{\field{\*\fldinst HYPERLINK "http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/heyd-c.html"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\lang1036 http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/heyd-c.html}}}{\hich\af1\loch\f1\lang1036 , accessed 10/22/10\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs36 \'93}{\hich\af1\loch\f1\fs36 The Aesthetics of Junkyards and Roadside Clutter,}{\loch\af1\hich\f1\fs36 \'94}{\hich\af1\loch\f1\fs36  }{\i\hich\af1\loch\f1\fs36 Contemporary Aesthetics}{\hich\af1\loch\f1\fs36 , 2008\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs28 ABSTRACT  }{\hich\af1\loch\f1\fs28 A little more than thirty years ago, Allen Carlson argued that although the concept of "Camp" would seem to allow for the aesthetic redemption of roadside clutter and junkyards, it does not. He opposes those who claim that if one takes the right attitude to roadside clutter it can be seen as aesthetic. In this essay I argue that that there is nothing wrong with this, although I will not base my argument on the idea of Camp sensibility.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Thomas }{\hich\af1\loch\f1\fs40 Leddy}{\hich\af1\loch\f1\fs40   }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 The Aesthetics of Junkyards,}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40   2010\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Carlson:  an aesthetically positive response to a junkyard would be inappropriate\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 No one should be saddened by the disappearance of a junkyard.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 You cannot see a junkyard as aesthetic except in a thin sense.  You could not appreciate it in a thick sense, knowledge-based sense [in the way he thinks you could appreciate a meadow in the essay we read]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 Peter }{\b\hich\af1\loch\f1\fs20 Tytla}{\b\hich\af1\loch\f1\fs20 , PARTS IS PARTS (1992) }{\field{\*\fldinst HYPERLINK "http://petertytla.com/galleries.html"}{\fldrslt\cf2\ul{\b\hich\af1\loch\f1\fs20 petertytla.com/galleries.html}}}{\hich\af1\loch\f1   \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 RAINDROPS KEEP FALLING ON MY HEAD (1994)}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Roadside clutter near A2, Bridge, Canterbury. Photo: }{\loch\af1\hich\f1\fs20 \'a9}{\hich\af1\loch\f1\fs20  }{\hich\af1\loch\f1\fs20 Ady}{\hich\af1\loch\f1\fs20  Kerry.}{\loch\af1\hich\f1\fs20 \'a0}{\field{\*\fldinst HYPERLINK "http://www.cpre.org.uk/campaigns/transport/roadside-clutter"}{\fldrslt\cf2\ul{\b\hich\af1\loch\f1\fs20 www.cpre.org.uk}{\b\hich\af1\loch\f1\fs20 /.../transport/roadside-clutter}}}{\hich\af1\loch\f1   \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Advocating the aesthetic value of junkyards is unethical since I [}{\hich\af1\loch\f1 Leddy}{\hich\af1\loch\f1 ] am thereby advocating anti-environmentalist values.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Yet I am sympathetic to environmentalism.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 I reject Carlson}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s premise that junkyards generally are never appropriately aesthetically pleasing.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Clutter\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The term }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 clutter}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  generally has a negative connotation:  lovers of clutter may be said to favor what other call clutter\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Messiness can sometimes be a positive aesthetic quality [as when you like the messiness of your sloppy and delicious sandwich]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 I favor appreciating some things other consider eyesores.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Contrast between my neighborhood [Roosevelt Park, San Jose] and the middle-class one next door [}{\hich\af1\loch\f1 Naglee}{\hich\af1\loch\f1  Park]:  clutter vs. tasteful front-yards\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Only the first are photographically interesting.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Modern Artists\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Modern artists made it possible:  Picasso, Rauschenberg, }{\hich\af1\loch\f1 Kienholz}{\hich\af1\loch\f1 , Dine, Oldenburg, }{\hich\af1\loch\f1 Kaprow}{\hich\af1\loch\f1 , Conner, Cornell, }{\hich\af1\loch\f1 Burri}{\hich\af1\loch\f1 , Chamberlain, Arte }{\hich\af1\loch\f1 Povera}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Picasso, Bull}{\b\loch\af1\hich\f1\fs24 \'92}{\b\hich\af1\loch\f1\fs24 s Head, 1943, Bronze Cast Bicycle Parts}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs16 \line }{\hich\af1\loch\f1\fs20 Robert Rauschenberg/}{\b\hich\af1\loch\f1\fs20 Monogram}{\hich\af1\loch\f1\fs20 , 1955}{\loch\af1\hich\f1\fs20 \'96}{\hich\af1\loch\f1\fs20 59 Freestanding combine: oil, paper, fabric, printed paper, printed reproductions, metal, wood, rubber shoe heel, and tennis ball on canvas, with oil on Angora goat and rubber tire, on wood platform mounted on four casters\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Robert Rauschenberg - 'Canyon', 1959, oil, }{\hich\af1\loch\f1\fs18 housepaint}{\hich\af1\loch\f1\fs18 , pencil, paper, fabric, metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string, pillow & bald eagle on canvas\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Edward }{\b\hich\af1\loch\f1\fs24 Kienholz}{\b\hich\af1\loch\f1\fs24 , }{\b\loch\af1\hich\f1\fs24 \'93}{\b\hich\af1\loch\f1\fs24 The Beanery.}{\b\loch\af1\hich\f1\fs24 \'94}{\b\hich\af1\loch\f1\fs24  1965}{\hich\af1\loch\f1\fs18  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs28 CHRISTOPH B}{\b\loch\af1\hich\f1\fs28 \'dc}{\b\hich\af1\loch\f1\fs28 CHEL.  }{\b\loch\af1\hich\f1\fs28 \'93}{\b\hich\af1\loch\f1\fs28 Simply }{\b\hich\af1\loch\f1\fs28 Botiful}{\b\hich\af1\loch\f1\fs28  2006-10-11 - 2007-03-18}{\b\loch\af1\hich\f1\fs28 \'94}{\b\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Claes}{\b\hich\af1\loch\f1\fs24  Oldenburg, }{\b\i\hich\af1\loch\f1\fs24 The Store}{\b\hich\af1\loch\f1\fs24 , Dec. 1, 1961 - Jan. 31, 1962, Ray Gun Mfg. Co., 107 East Second St., New York\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 .\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Allan }{\hich\af1\loch\f1\fs28 Kaprow}{\hich\af1\loch\f1\fs28 . }{\b\i\hich\af1\loch\f1\fs28 Yard.}{\b\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 View of tires in court of Martha Jackson Gallery, New York 1961}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Allan }{\hich\af1\loch\f1\fs28 Kaprow}{\hich\af1\loch\f1\fs28 ,}{\i\hich\af1\loch\f1\fs28  Household}{\hich\af1\loch\f1\fs28 , Happening, 1964\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Kurt }{\hich\af1\loch\f1\fs28 Schwitters}{\hich\af1\loch\f1\fs28 , }{\i\hich\af1\loch\f1\fs28 Merzbau}{\hich\af1\loch\f1\fs28 , 1924-37\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 John Chamberlain }{\b\i\hich\af1\loch\f1\fs24 Hatband}{\b\hich\af1\loch\f1\fs24  1960\line painted steel, 58.5 x 53 x 38 inches\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs28 Richard }{\b\hich\af1\loch\f1\fs28 Misrach}{\b\hich\af1\loch\f1\fs28 , }{\b\loch\af1\hich\f1\fs28 \'93}{\b\hich\af1\loch\f1\fs28 Bomb, Destroyed Vehicle, and Lone Rock,}{\b\loch\af1\hich\f1\fs28 \'94}{\b\hich\af1\loch\f1\fs28  1987\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 "Last Call Bison Head"\line }{\field{\*\fldinst HYPERLINK "http://www.sfrecycling.com/AIR/junge.htm"}{\fldrslt\cf2\ul{\b\hich\af1\loch\f1\fs24 Andrew }{\b\hich\af1\loch\f1\fs24 Junge}}}{\b\hich\af1\loch\f1\fs24 , 2005, }{\b\hich\af1\loch\f1\fs24 Norcal}{\b\hich\af1\loch\f1\fs24 , Waste Artist in residence.}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 "Wave"\line }{\b\hich\af1\loch\f1\fs24 Tyrome}{\b\hich\af1\loch\f1\fs24  Tripoli, 2002}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 "Car Wreck"\line Richard }{\b\hich\af1\loch\f1\fs24 Kamler}{\b\hich\af1\loch\f1\fs24 , 1999}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Arman}{\b\hich\af1\loch\f1\fs24 , 1960 }{\b\loch\af1\hich\f1\fs24 \'93}{\b\hich\af1\loch\f1\fs24 Plein}{\b\loch\af1\hich\f1\fs24 \'94}{\b\hich\af1\loch\f1\fs24  [}{\b\loch\af1\hich\f1\fs24 \'93}{\b\hich\af1\loch\f1\fs24 The Filled}{\b\loch\af1\hich\f1\fs24 \'94}{\b\hich\af1\loch\f1\fs24 ] Paris\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Arman}{\hich\af1\loch\f1\fs28 , 1959. Accumulations }{\hich\af1\loch\f1\fs28 d'ordures}{\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 m}{\loch\af1\hich\f1\fs28 \'e9}{\hich\af1\loch\f1\fs28 nag}{\loch\af1\hich\f1\fs28 \'e8}{\hich\af1\loch\f1\fs28 res}{\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 sous}{\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 verre}{\hich\af1\loch\f1\fs28 . [Household garbage in glass box].\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs28 Vermont junkyard}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Monroe Beardsley:  }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 the dilemma of aesthetic education}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 One way of directing taste is reformist towards an ideal of beauty:  associated with programs of beautification\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Another takes the aesthetic point of view whenever possible.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1080\fi-360 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Suddenly a whole new field of aesthetic gratification opens up.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1080\fi-360 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 An automobile graveyard [can have a wild] and grotesque expressiveness.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1080\fi-360 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Litter and junkyards may be perceptually transformed.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But this [the second view] is defeatist, and sometimes there are moral objections.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Camp\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Debate over the thick sense.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Leddy: Carlson}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s thick description of junkyards is just one of many.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Carlson himself admits he cannot be certain what life values these objects express\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Andy }{\hich\af1\loch\f1 Zoop}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Another approach is exemplified by Andy }{\hich\af1\loch\f1 Zoop}{\hich\af1\loch\f1  [pseudonym], a blog-writer who argues (2007) that junk acts as a testimonial to anonymous men and women:  it is a slide show of our deep humanity.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Carlson thinks that in appreciating junk one condones values of waste and exploitation.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 But, following Kant, in appreciating the palace of Versailles, one is not condoning the monarchy that produced it.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Paul Ziff }{\loch\af1\hich\f1 \'a0}{\hich\af1\loch\f1  (1920-2003) \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Paul Ziff }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Anything Viewed}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40  1979\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Paul Ziff argues }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 anything that can be viewed is a fit object of aesthetic attention.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Ziff defends seeing litter as an object for aesthetic attention.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Looking at Pollock, Tobey, Monet, and the Cubists might help.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 [Next: Monet:  }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Impression Sunrise}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  1873, and Jackson Pollock, }{\i\hich\af1\loch\f1\fs28 Full Fathom Five}{\hich\af1\loch\f1\fs28  }{\i\hich\af1\loch\f1\fs28 Number 8, 1949}{\hich\af1\loch\f1\fs28  ]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Carlson could reply that although a properly run junkyard can express values of environmentalism, oil spills cannot.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Although it is difficult to appreciate such things, there have been artworks, for example Robert Smithson}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Asphalt Rundown}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  that help.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Robert Smithson }{\i\hich\af1\loch\f1\fs40 Asphalt Rundown}{\hich\af1\loch\f1\fs40 , 1979\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It might be argued that my approach relies on artworks and not on immediate experience of the environments described.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Reply:  artists are sensitive observers of the environment.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Robert Adams photographs clear-cut forests, finding beauty in certain aspects, while still disapproving of the practice.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs24 Robert Adams, }{\b\loch\af1\hich\f1\fs24 \'93}{\b\hich\af1\loch\f1\fs24 Clearcut}{\b\hich\af1\loch\f1\fs24 ,}{\b\loch\af1\hich\f1\fs24 \'94}{\b\hich\af1\loch\f1\fs24  Humbug Mountain, Clatsop County, Oregon, 1999}{\b\loch\af1\hich\f1\fs24 \'96}{\b\hich\af1\loch\f1\fs24 2001\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Some argue that this leads to appreciation of unethical things.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 But should we feel aesthetic disgust in whatever disgusts us ethically?\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Contra Plato, it is not clear that aesthetic appreciation of representations of evil things will lead to evil acts.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Aesthetic appreciation of something does not require commitment to its continued existence.  Appreciation of smog-enhanced sunsets does not hurt anyone.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Urine Filled Containers\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 It might be argued that the average person should not have to put up with what the avant-garde may appreciate aesthetically.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Urine-filled bottles beside the road may look cool to someone, but they are mostly just disgusting.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 I do not think however that anyone is morally required to find a photograph of such a thing disgusting.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Next:  }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Piss Christ}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  by Andres Serrano, 1987\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Conclusion: Carlson}{\loch\af1\hich\f1\fs32 \'92}{\hich\af1\loch\f1\fs32 s distinction between thick and thin concepts fails to resolve Beardsley}{\loch\af1\hich\f1\fs32 \'92}{\hich\af1\loch\f1\fs32 s dilemma.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Beardsley thought that the dilemma is irresolvable, and I agree.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 I have sought to clear a space for aesthetic appreciation that is freer, more imaginative, and more in tune with contemporary art than that allowed by current morality-centered aesthetics.}{\hich\af1\loch\f1\fs36  \par 
}
}