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Estetyka przyrody jest współcześnie ważnym działem estetyki filozoficznej. Jej przedstawiciele zgodnie twierdzą, że doświadczenie estetyczne jest istotne z punktu widzenia ekologii i w tym sensie, estetyka przyrody ma konsekwencje dla etyki środowiskowej. Celem artykułu jest analiza koncepcji doświadczenia estetycznego przyrody, która wyłania się z environmental aesthetics, oraz pokazanie, że tak rozumiane doświadczenie estetyczne, tzn. jako zmysłowe doświadczenie przyrody qua przyrody oraz jako doświadczenie przyrody on its own terms, jest tożsame z postawą etyczną, pojętą jako postawa, pozwalająca dostrzec w przyrodzie sferę inną-niż-ludzką, której wartości nie sposób sprowadzić bez reszty do wartości instrumentalnej.
No abstract
The aim of this article is to suggest that one should think of gardens in terms of performances and not necessarily in terms of architecture, painting, or poetry, for it is possible to show that, strangely enough, gardens seem to share certain features with performance arts. Such an approach seems fruitful since it allows one both to grasp the fact that gardens combine culture and nature and to underline the role of the latter, which cannot be reduced to a sheer medium as is traditionally done. The contention is that gardens should be treated more like a continuous, dynamic, partly planned process in which people can participate in different ways on a par with other non-human 'actors'. Moreover, the category of performance seems to offer a useful framework helping to solve certain problems inherent in traditional ways of thinking about gardens. Gardens are usually analysed in terms of architecture (garden planning belongs to landscape architecture), painting (formal gardens are to be seen as a sort of perspective views, whereas landscape ones are to be appreciated in terms of the picturesque), and poetry (gardens are to be interpreted as texts). There are a few attempts at juxtaposing them with other arts, such as land art, these not so much by garden historians as by philosophers. 1 One of the advantages of such an approach is that it highlights what seems to be somewhat undervalued-even if it is obviously taken into account-by the traditional framework-namely, the dynamic character of nature and gardens, stemming from nothing other than their natural dimension. 2 There is, however, another useful point of reference which allows one to emphasize these aspects in an even more satisfactory waynamely, the categories of performance and performativity, two terms crucial for the so-called 'performative turn'. The performative approach is present in a variety of fields, including landscape studies which offer a suitable framework in which to analyse gardens. 3 As David Crouch writes: 'this way of thinking about how we The Garden as a Performance This article is an extended and revised version of my paper published in the Proceedings of the European Society for Aesthetics 5 (2013). It was prepared thanks to the support of the National Science Centre of Poland (grant: no. 2011/01/D/HS1/01661). The author would like to express his gratitude to Stephanie Ross and Thomas Leddy, whose comments were very inspiring and greatly contributed to the final shape of the article.
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