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This essay discusses the similarities and the differences between aesthetic appreciation of nature and of art, and canvasses attempts to delineate the scope of appropriate aesthetic appreciation of nature. It begins with a presentation of Kendall Walton's theory of appropriate art appreciation and explores its implications, specifically his implication that nature appreciation is category-relative and thus aesthetic judgments of nature are neither true nor false. Allen Carlson's natural environment model. Is then discussed. Carlson argues against relativism in nature appreciation by pointing out that there are correct scientific categories of nature. With his arousal model of nature appreciation Noel Carroll argues that Carlson's model fails to countenance appropriate cases of nature appreciation that occur when one is emotionally moved by nature. In response to potential allegations that his model endorses subjectivity, Carroll explains that some emotional responses to nature are appropriate, while others are not. In the process of considering the debate between Carlson and Carroll, specific limitations of these models are discussed. The author agrees with Carroll that Carlson's model, which makes scientific knowledge a necessary condition for appropriate nature appreciation, excludes legitimate instances of aesthetic appreciation. The essay concludes with a discussion of the need to expand the scope of what is considered legitimate nature appreciation beyond that which is encompassed by Carroll's model. The sort of model needed, it is suggested, is one that is best characterized as both revisionist and extensionist.

The article explores the concept of aesthetic disobedience proposed by philosopher Jonathan Neufeld based on the definition of civil disobedience presented by philosopher John Rawls in his book "A Theory of Justice." Topics discussed include the involvement of both artists and audience members in acts of aesthetic disobedience, the violation of relevant artistic norms observed in the 1989 protest artwork "Do Women Have to Be Naked to Get Into the Met. Museum?," by anonymous artist collective Guerilla Girls, and the activism demonstrated by performers in Peter Handke's play "Publikumbeschimpfung (Offending the Audience)."

Environmentalists can make individuals more coo-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool fox-environmentalists, with potential beyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in conjunction with other efforts to protect nature.

An introduction to a series of articles about ethical and aesthetic issues related to stand-up comedy is presented.