Teddie’s Landschaft

Abstract This article considers the concept of cultural landscape (Kulturlandschaft) from Theodor W. Adorno’s Aesthetic Theory, exploring how the philosophy of natural beauty in relation to historical built environments resonates with ideas of musical landscape and experiences of peripatetic listening. If Adorno’s mature thought is marked by the fractured experience of exile, his late evocations of displacement actually echo youthful experiences on holiday—notably, the striking volcanic terrain of a summer vacation in Italy, which is transformed soon thereafter into a reflection on landscape, alienation, and song. Throughout the recurrences of the trope of landscape in Adorno’s writings before Aesthetic Theory, the philosophy of nature and history and experiences of tourism and exile constellate into an aesthetic that contemplates sublimity and kitsch side by side: modernist philosophy as shaped by experiences of music, travel, and landscapes of distance and estrangement.

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Kant and Adorno on Mind and World: From Wild Beauties to Spiral Jetty

New German Critique ◽

10.1215/0094033x-8989274 ◽

2021 ◽

Vol 48 (2) ◽

pp. 107-123

Author(s):

J. M. Bernstein

Keyword(s):

Immanuel Kant ◽

Philosophy Of Art ◽

Aesthetic Theory ◽

Natural Beauty ◽

Living Nature

Abstract Theodor W. Adorno’s governing procedure in Aesthetic Theory is to reconstruct the terms and concepts of traditional aesthetics and the philosophy of art through the actuality of artistic modernism in its various guises. The necessity of this procedure turns on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed afterimage of natural beauty. The article tracks the development of this thought from Kant’s account of “wild beauties” through Adorno’s chapter “Natural Beauty” to its actualization in Robert Smithson’s Spiral Jetty.

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The Discussion of the Concept of Sustainable Development of Ecological Architectural Aesthetics

Advanced Materials Research ◽

10.4028/www.scientific.net/amr.598.8 ◽

2012 ◽

Vol 598 ◽

pp. 8-11

Author(s):

Shen Qi Gan ◽

Hong Zhang

Keyword(s):

Sustainable Development ◽

Aesthetic Theory ◽

Aesthetic Value ◽

The Core ◽

Natural Beauty ◽

Man And Nature ◽

Environment Perception ◽

Basic Concepts ◽

Ecological Architecture ◽

The Aesthetic

This paper introduces the basic concepts of ecological aesthetic, pointing out that the ecological aesthetic comes from population, resources, environment and other factors, understanding the natural beauty from the harmonious compatibility between man and nature, the environment, perception, greatly improving the aesthetic value of taste. This paper introduces the core categories、aesthetic standards and the three characteristics of ecological architectural aesthetics in detail, interpret the ecological architecture and its aesthetic theory.

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Traces of the Other: Adorno on Natural Beauty

New German Critique ◽

10.1215/0094033x-8288181 ◽

2020 ◽

Vol 47 (2) ◽

pp. 169-189

Author(s):

André Krebber

Keyword(s):

Historical Context ◽

The Other ◽

Environmental Crisis ◽

Aesthetic Theory ◽

Environmental Aesthetics ◽

Natural Beauty ◽

Relationship Of ◽

The Relationship

Abstract This article explores Theodor W. Adorno’s recovery of natural beauty in Aesthetic Theory against the background of current debates in environmental aesthetics and evinces the relationship of his reading of natural beauty to his critique of the domination of nature. From there, a critique of natural domination can be issued through the artwork. Whereas Adorno specifies that artworks do not relate to natural beauty in a positive, pseudomorphotic sense, they nevertheless inherit a quality of natural beauty as presenting to humans what is not reducible to the human. Within the specific historical context of an environmental crisis, then, a case is finally made for art as an area of ecological critique that recovers the artwork and nature from both the artwork’s reduction to a propagandistic tool and its idealistic enlisting for reinstating a bourgeois ideal of nature.

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Aesthetic Theory and the Philosophy of Nature

Philosophies ◽

10.3390/philosophies6030056 ◽

2021 ◽

Vol 6 (3) ◽

pp. 56

Author(s):

Said Mikki

Keyword(s):

The Other ◽

Aesthetic Theory ◽

Deleuze And Guattari ◽

Philosophy Of Nature ◽

Antonin Artaud ◽

Fundamental Relationship ◽

General Program ◽

Ontology Of Art ◽

Aesthetics Of Nature

We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the framework of the ontology of the process of the production of art, inspired especially by the views of Antonin Artaud, Nietzsche, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature.

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The Transformations of Aesthetic Theory

Examining a New Paradigm of Heritage With Philosophy, Economy, and Education - Advances in Religious and Cultural Studies ◽

10.4018/978-1-7998-3636-0.ch001 ◽

2020 ◽

pp. 1-9

Author(s):

Arnold Berleant

Keyword(s):

Everyday Life ◽

Environmental Ethics ◽

Social Relations ◽

Environmental Movement ◽

Western Civilization ◽

Aesthetic Theory ◽

The Arts ◽

Natural Beauty ◽

Aesthetic Inquiry ◽

Social Aesthetics

Recent decades have witnessed a dramatic broadening in the scope of aesthetic inquiry. No longer focused exclusively on the arts and natural beauty, the mainstream of aesthetics has entered a delta in which its flow has spread out into many channels before entering the oceanic expanse that is Western civilization. Several decades ago, environmental aesthetics began to attract interest and has grown to be an important focus of present-day inquiry in aesthetics. Along with environmental ethics, it has become part of the broader range of environmental studies and the environmental movement in general. This expansion has continued, interpreting environment not only as natural but also as social. Aesthetics has been applied to social relations and political uses, and now, most recently to the objects and situations of everyday life. The course of the arts has displayed a similar succession of changes.

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For Those About to Rock

Perspectives on Public Health Issues Related to Hearing and Balance ◽

10.1044/hcoa13.1.29 ◽

2012 ◽

Vol 13 (1) ◽

pp. 29-35

Author(s):

Jennifer Tufts

Keyword(s):

Hearing Loss ◽

Cultural Landscape ◽

Minimal Risk ◽

Noise Induced Hearing Loss ◽

Essential Information ◽

Informed Decisions ◽

Hearing Health ◽

Loud Music ◽

Protective Strategies

Loud music and noisy hobbies are part of our cultural landscape. These activities can be enjoyed with minimal risk to hearing if a few commonsense guidelines are followed. Educating clients about risks and protective strategies will empower them to make informed decisions about their hearing health that best reflect their values and priorities. In this article, the author covers essential information to avoiding noise-induced hearing loss, writing in easily accessible language to better help clinicians convey this information to their clients.

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