A Study On The "Aesthetic Relevance" In Western Environmental Aesthetics

The core of the discussion on the issue of "aesthetic relevance" is what factors are related to aesthetics and how they are related to aesthetics,which has long been overlooked as a core issue of aesthetics,especially environmental aesthetics.This research examines the issue of"aesthetic relevance" in Western environmental aesthetics.On the one hand,we will conduct an academic history review of the issue of "aesthetic relevance",restoring the theoretical evolution path of the issue of "aesthetic relevance".On the other hand,we will discuss the issue of "natural aesthetic relevance" in Western environmental aesthetics,attempting to reconcile various elements related to natural aesthetics,especially the contradictions between cognitive and perceptual factors when participating in natural aesthetics,From the perspective of the integration of cognition and perception in natural aesthetics,we will explore the issue of "correlation between natural aesthetics".The first chapter systematically reviews the evolution of the issue of "aesthetic relevance"from analytical aesthetics to environmental aesthetics from the perspective of theoretical history.Stolnitz used the new concept of "disinterest" mixed with the meaning of "sympathy"as the criterion for "aesthetic relevance",while Dickie and Eaton established the correlation between various factors and aesthetics from the perspective of cultural institutionalism.Carlson advocated for "appropriate appreciation" centered on the object,transforming the issue of "aesthetic relevance" into the issue of "aesthetic inevitability",and seeking essential factors in aesthetics.By exploring the issue of "aesthetic relevance",they incorporated various factors into the network of "aesthetic relevance",thus constructing a very inclusive"aesthetic relevance" network,and reconstructing the connotation of aesthetics from three aspects:subject,object,and the relationship between subject and object.From the perspective of aesthetic subjects,they acknowledge the correlation between various factors of the subject and aesthetics,and find relevant criteria and provide theoretical basis for them from their respective theoretical perspectives;From the perspective of aesthetic objects,they have expanded the scope of aesthetic objects,with "aesthetic relevance" pointing to "aesthetic possibilities",that is,the scope of aesthetic objects is infinite,and any object has aesthetic possibilities.Finally,the issue of "aesthetic relevance" has driven the exploration of the relationship between the subject and object of aesthetics.Through the link of "relevance",their differentiation of the subject and object factors tends to be more and more named,and essentially points to the mixing,echo,and infiltration between the subject and object factors in aesthetics.The second chapter examines the issue of "aesthetic relevance" in environmental aesthetics from the perspective of changes in the connotation of "aesthetics".The aesthetic object of Western environmental aesthetics has evolved from "nature" to "environment".The duality of "impersonal" and "personal" environment highlights the tension between the true existence of nature and the spiritual thinking of human subjects.Natural aesthetics,with the environment as the aesthetic object,bears the dual responsibility of "understanding nature"and "creating nature".This change in aesthetic paradigm provides rationality for the correlation between factors such as cognition and perception and natural aesthetics.Different environmental aestheticians have formed a "cognitive school" of natural aesthetics with a core requirement of understanding nature based on their own theoretical stance and focus.They emphasize the cognitive factors related to natural aesthetics in the subject,as well as the"perceptual school" of creating nature.They emphasize the perceptual factors related to natural aesthetics in the subject,and there is a debate between "cognition" and "perception"on the issue of the correlation between natural aesthetics.However,it should be noted that cognitive and perceptual factors each have advantages and disadvantages in participating in natural aesthetics.Therefore,in order to develop natural aesthetics more comprehensively and fully,we need to integrate the cognitive factors with "standardization" as the core and the perceptual factors with "freedom" as the core,to bridge the universality and specificity,generality and individuality,subjectivity and objectivity,normalization and description,sustainability and contingency,surface and depth of natural aesthetics caused by the different functions of cognition and perception a series of binary opposing attributes,such as certainty and uncertainty,achieve ethical correctness and aesthetic freedom in natural aesthetics through the complementarity of cognition and perception.The third chapter focuses on two paths to explore the integration of perception and cognition as elements of the aesthetic relevance of nature.This chapter explores the paths of the integration of nature aesthetic relevance,especially the cognitive and perceptual factors,based on Berleant’s idea of "continuity" and Gattari’s idea of "transversality",and explores their implications for the relevance of nature aesthetics.Berleant practices the idea of"continuity" with "embodiment",our "body" actually becomes a "multi-layered continuum"of "body,mind,and environment",thus integrating all aesthetically relevant elements at the"experience" level;The continuity of thinking emphasizes the "sense of completeness" and"harmony",emphasizes the "continuity" between humans and the environment,as well as the"immediacy" of natural aesthetics.The network of natural aesthetic correlations gains boundedness,openness,and freedom.Gatali developed a "transversality"thinking model using vivid "tubers",which compensates for the shortcomings of "continuity" thinking.Firstly,Gatari’s "transversality" thinking views the body as the intersection of forces of different intensities on the internal plane,creating a theoretical system of "chaotic" of "the eternal movement of forces in the domain and domain of the internal plane",providing a more specific mechanism analysis for the fusion of multiple differential factors.Secondly,the"body without organs" provides a prior structural guarantee for the ’body’ to continuously incorporate heterogeneous new factors,thereby contributing to the development of a generative natural aesthetic and ensuring its sustainability in continuous creation and generation.Once again,the "body without organs" as a ’transverse entity’ solves a series of binary opposites in natural aesthetics.In addition,by considering the "other opposite situation" and establishing a "good" relationship with nature on the basis of respecting nature,the disorderly expansion of the "natural aesthetic correlation" network is constrained.The"transversality" thinking provides a "differential" thinking and a "struggle" landscape,inspiring us to see the dialectical relationship between the continuous and struggle of various factors in natural aesthetics,and develop a more inclusive natural aesthetics.Integrating the"embodiment" based on the principle of "continuity" thinking and "the body without organs"based on the principle of "transverse" thinking can solve the cognitive and perceptual disputes in the issue of "natural aesthetic relevance" with a dialectical thinking that emphasizes both continuity and tolerance for differences,bridge a series of binary opposing attributes of natural aesthetics,and provide a theoretical path for the development of a more comprehensive and integrated integrated aesthetics.The issue of "aesthetic relevance" under continuous and transversal thinking provides both theoretical and practical implications for environmental aesthetics.From a broader perspective,it reconstructs "aesthetics" in terms of connotation and approach.On the one hand,the issue of aesthetic relevance in environmental aesthetics maintains the rationality of cognition and perception in relation to aesthetics,thus restoring the cognitive and perceptual dimensions of aesthetics and contributing to a richer connotation of "aesthetics".On the other hand,the relational,holistic and process thinking implicit in the concept of "aesthetic relevance" changes the traditional way of thinking about aesthetics from a single essential factor.