OJPP  Vol.5 No.1 , February 2015
Problems and Prospects of Geoaesthetics
Abstract: Geoaesthetics is the project of making aesthetic sense of nature through geological phenomena. The aesthetic appreciation of nature has recently become urgent because of the serious influence of the natural environment on human beings. The author’s geoaesthetical research is categorized into three problems: art in geology or geology in the arts as the close relationship between art and geology, geological cognition of nature and natural cognition in environmental aesthetics, and the geoaesthetical approach through works of art. Geologic forces and processes have become significant materials for aesthetic sensations. Based on the geoaesthetic perspective, the author explores the ultimate purpose of art as a return to natural order. It seems partly to be related to the ontological problem of art. Here we can feel earthly dynamics, universal calmness, and the contemplative atmosphere simultaneously.
Cite this paper: Kim, K. (2015) Problems and Prospects of Geoaesthetics. Open Journal of Philosophy, 5, 1-14. doi: 10.4236/ojpp.2015.51001.

[1]   Abbey, R. D., & William Fiero, G. (1986). Art and Geology: Expressive Aspects of the Desert. Layton: Peregrine Smith Books.

[2]   Carlson, A. (2002). Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture. London and New York: Routledge.

[3]   Edmaier, B., & Jung-Hüttl, A. (2008). Earthsong. New York: Phaidon.

[4]   Friedl, L., Yuen, K. et al. (2012). Earth as Art. Washington DC: NASA Earth Science.

[5]   Green, M. (2008). Empathy, Expression, and What Artworks Have to Teach. In G. L. Hagberg (Ed.), Art and Ethical Criticism (Chapter 4). Oxford: Blackwell.

[6]   Heidegger, M. (1962). Being and Time. (trans. John Macquarrie and Edward Robinson). New York: Harper and Row.

[7]   Heyd, T. (2003). Rock Art Aesthetics and Cultural Appropriation. The Journal of Aesthetics and Art Criticism, 61, 37-46.

[8]   Jackson, J. B. (1984). Discovering the Vernacular Landscape. New Haven: Yale Univ. Press.

[9]   Kelly, M. (Ed.) (1998). Encyclopedia of Aesthetics (Vol. 3). Oxford: Oxford Univ. Press.

[10]   Kim, K. M. (2012). Review on Hongtae Kim’s Exhibition. James Gray Gallery, November 17-December 16, Santa Monica, California: Bergamot Station Art Center.

[11]   Matthews, P. (2002). Scientific Knowledge and the Aesthetic Appreciation of Nature. The Journal of Aesthetics and Art Criticism, 60, 37-48.

[12]   Montgomery, C. W. (1995). Environmental Geology (4th Ed.). Dubuque, Iowa: Wm. C. Brown Publishers.

[13]   Paden, R., Harmon, L. K., & Milling, C. R. (2012). Ecology, Evolution, and Aesthetics. British Journal of Aesthetics, 52, 123-139.

[14]   Plessner, H. (1981). Kants System unter dem Gesichtspunkt einer Erkenntnistheorie der Philosophie. Frankfurt: Suhrkamp.

[15]   Saito, Y. (2005). The Aesthetics of Weather. In A. Light, & J. M. Smith (Eds.), The Aesthetics of Everyday Life. New York: Columbia University Press.

[16]   Saito, Y. (2010). Future Directions for Environmental Aesthetics. Environmental Values. Center Conway, NH: The White Horse Press.

[17]   Seel, M. (1998). Aesthetics of Nature and Ethics. In M. Kelly (Ed.), Encyclopedia of Aesthetics (Vol. 3). Oxford: Oxford Univ. Press.

[18]   Shapiro, G. (2004). Territory, Landscape, Garden toward Geoaesthetics. Angelaki: Journal of the Theoretical Humanities, 9, 103.