Mohammad Hasan Emami; amir nasri
Abstract
Berlean's approach to the aesthetics over the past two centuries is based on the traditional view of aesthetic appreciation. This attitude is based on: "Disinterestedness" and "Reflection". Disinterestedness releases human from everyday life and the possibility of his free presence next to the object ...
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Berlean's approach to the aesthetics over the past two centuries is based on the traditional view of aesthetic appreciation. This attitude is based on: "Disinterestedness" and "Reflection". Disinterestedness releases human from everyday life and the possibility of his free presence next to the object or its representation, which leads to attention to beauty.By revealing some of the ills of beauty art in traditional aesthetics, Berleant addresses the question, why does understanding art in traditional aesthetics become a model for appreciation of nature? objects in traditional aesthetics can be easily controlled, while objectifying the environment is much more difficult than art. To this end, another question arises, can it be concluded that we need a separate aesthetic science for nature?Berleant argues how many interests experienced in real life are set aside by the single source of disinterestedness. Because our experience in appreciation of nature goes beyond the boundaries of an object of reflected and refrains from limiting to specific boundaries. Berleant, arguing for the sublime to recognize the distinct aesthetics of nature, argues that the direction in which the aesthetics of nature leads us is to engagement with it. However, the need to overcome disinterestedness in engagement aesthetics remains questionable.This definition of aesthetic boundaries provides another opportunity for the consumer-oriented human being to experience nature, which is experiencing climate change affected by the dual subject-object world. The works of environmental art of Christo-Jean-Claude, as the utility of this possibility, further reveal the empathy with the aesthetics of engagement.
