#paper/draft ## Abstract We propose that generative AI systems themselves can be aesthetically appreciated by users in a manner analogous to [[the appreciation]] of natural environments. By extending [[Allen Carlson]]'s [[environmental model]] of [[aesthetic appreciation]] to the domain of generative AI art, we argue that users interact with AI systems like Midjourney as artificial environments—conceptualised here as [[machina naturans]]. Drawing parallels between environmental appreciation and the exploration of AI-generated outputs, we emphasise that knowledge—practical, technical, and art historical—plays a significant role in both contexts. This perspective aims to enhance [[the understanding]] of AI art appreciation and creation, highlighting [[the role]] of knowledge in engaging with these artificial environments. ## Introduction Systems like Midjourney, which transform textual prompts into detailed images, necessitate a reconsideration of existing aesthetic frameworks. We propose that generative AI systems themselves can be aesthetically appreciated by users in a manner comparable to [[the appreciation]] of natural environments. By conceptualising AI systems as artificial environments—referred to here as [[machina naturans]]—we aim to extend Carlson's [[environmental model]] of [[aesthetic appreciation]] to the domain of generative AI art. Traditional models of art appreciation rely on clear boundaries and intentionality established by human creators. In contrast, AI-generated images result from processes that lack direct human authorship and operate within complex, abstract representations of data. This raises questions about how such art can be meaningfully engaged with and appreciated. We suggest that Carlson's [[environmental model]] offers a framework for understanding and engaging with both the AI systems and their outputs. By appreciating the AI system through its outputs, users engage with the [[generative process]] itself, akin to how one appreciates a [[natural environment]] through informed exploration. In a recent paper, Young and Terrone (2024) argue that creating images with generative AI systems like Midjourney is best understood through a comparison with gardening. They introduce [[the concept]] of machina naturans to characterise machines that autonomously generate and shape outputs in ways similar to nature's processes. We build upon this idea to further explore how users can aesthetically appreciate generative AI systems as artificial environments. ## Carlson's Environmental Aesthetics and Generative AI Allen Carlson's work on environmental aesthetics addresses the challenge of how natural environments can be aesthetically appreciated without the predefined boundaries and focal points found in traditional artworks. He observes that while art objects are human creations with clear demarcations and intentional aesthetic features, natural environments lack such explicit guidance for appreciation. Carlson proposes that knowledge—common-sense and scientific—about natural environments informs both what should be appreciated and how it should be appreciated (Carlson, 2000). In traditional art appreciation, familiarity with artistic traditions and styles allows for meaningful interpretation and engagement with artworks. Acts of aspection, such as surveying a Tintoretto or scanning a Bosch, are informed by knowledge of artistic conventions. In natural environments, Carlson suggests that knowledge about the environment guides the observer in identifying appropriate focal points and acts of aspection. For instance, appreciating a prairie landscape involves different sensory engagements compared to appreciating a dense forest. We propose that generative AI systems can be conceptualised as artificial environments, functioning as machina naturans. Young and Terrone (2024) introduce the term machina naturans to describe machines capable of generating and shaping outputs autonomously, akin to nature's natura naturans. They argue that creating images with Midjourney parallels a gardener's interaction with nature's autonomous generative processes: "Midjourney acts as machina naturans, where users engage with its dynamic recalcitrance to influence, but not fully control, the creative process" (Young & Terrone, 2024, p. 5). By appreciating the AI system through its outputs, users engage with the generative process itself, much like engaging with a natural environment through active exploration and sensory engagement. Interacting with AI involves unique acts of aspection analogous to those in natural environments. Users navigate the AI's latent space—the high-dimensional abstract representation where data features are encoded—by refining prompts and interpreting the AI's outputs. This engagement is dynamic and exploratory, requiring adaptability and responsiveness. Different regions of latent space may necessitate different prompting strategies, just as varied environments demand different approaches. An understanding of art history and technical aspects of art enables users to navigate the AI's latent space more effectively. Generative AI models like Midjourney are trained on vast datasets comprising millions of images from diverse sources, including artworks across different periods, cultures, styles, and mediums. During training, the AI identifies and encodes features such as brushstrokes, colour palettes, compositional techniques, and thematic content. These features are abstracted and stored within the latent space, forming the conceptual landscape through which the AI generates outputs. Knowledge about art allows users to craft prompts that guide the AI to explore specific regions of the latent space, influencing the outputs. By referencing artists or movements in their prompts, users can invoke specific styles or techniques, effectively engaging with the AI system's generative capabilities. Understanding the nature of latent space enhances the user's ability to interact with the AI meaningfully. The concept of latent space is central to understanding how users engage with generative AI systems. Latent space refers to an abstract, multidimensional space where data is encoded such that similar data points are positioned closer together. This space captures the underlying patterns and features learned from the training data, forming the landscape within which the AI operates. By interacting with the latent space, users effectively explore this hidden structure, positioning themselves within it through informed prompting. Knowledge informs both what to appreciate—the features and styles encoded within the AI—and how to appreciate them through appropriate acts of aspection. This mirrors Carlson's notion that appreciating nature involves engaging with it through informed acts guided by knowledge. Users who understand the AI's training data and generative processes can better appreciate the complexity and depth of the outputs. ## The Prompter as Gardener: Grappling with Dynamic Recalcitrance We suggest that users appreciate the AI system by engaging with its outputs, refining the analogy between prompters and gardeners. Young and Terrone (2024) propose that creating images with Midjourney is akin to gardening, where the gardener interacts with natura naturans—nature's autonomous generative processes. Similarly, the prompter engages with machina naturans, navigating its dynamic recalcitrance to influence, but not fully control, the creative process. Gardeners have a unique appreciation of nature that goes beyond the passive enjoyment of a casual observer. While anyone can appreciate nature by walking through a forest or admiring a landscape, gardeners engage with nature on a deeper level by actively working with its dynamic processes. They grapple with the inherent unpredictability and autonomy of natura naturans, shaping and cultivating their gardens while acknowledging nature's independent agency. This engagement involves grappling with what Young and Terrone (2024) describe as dynamic recalcitrance—the challenges and possibilities presented by working with an autonomous generative system. Gardening is not only about the end product—the garden or the plants within it—but also about the process of interacting with nature's generative forces. This process constitutes a form of aesthetic appreciation, where the gardener values both the creation and the act of creation. Similarly, prompters engage with generative AI systems by crafting prompts and iterating on outputs, navigating the AI's latent space. They grapple with the AI's dynamic recalcitrance, influencing but not fully controlling the creative process. The AI system's outputs are manifestations of its generative processes, and by engaging with these outputs, users appreciate the system itself. This interaction is not merely technical but constitutes an aesthetic engagement with the AI environment. Users adapt their strategies based on the AI's responses, learning from the outputs and refining their approach. As Young and Terrone (2024) note, "The prompter can iterate on Midjourney's products to get (or get closer to) the result for which they are aiming... Doing so, the gardener can exert skilful yet incomplete control over a piece of natura naturans which has a significant degree of autonomy in its own development" (p. 6). The parallels between gardeners and prompters highlight a form of appreciation that arises from engaging with an autonomous generative system. Both the gardener and the prompter collaborate with a system that exhibits dynamic recalcitrance, appreciating both the process and the products of their interaction. While the gardener cultivates plants and shapes a garden, the prompter explores the latent space and generates images, both appreciating the emergent results of their engagement. An analogue to appreciating nature by walking in it, without the active engagement of gardening, could be the passive consumption of AI-generated art without interacting with the AI system. In this case, users appreciate the outputs but do not engage with the generative process. Our focus, however, is on the deeper appreciation that comes from active engagement and collaboration with the AI system. ## A Deeper Understanding of AI Art Appreciation Applying Carlson's environmental model to generative AI art enhances the understanding of AI art appreciation by providing a framework that accounts for the unique characteristics of AI systems. This perspective acknowledges the collaborative dynamic between human users and AI systems, recognising the fusion of human intentionality with the AI's autonomous generative capacities. Understanding enables users to harness the AI's capabilities more effectively, leading to more intentional and nuanced creative outcomes. Informed engagement allows users to communicate their artistic intentions to the AI more effectively, navigating the latent space to achieve desired results. This informed interaction enriches the aesthetic experience, as users appreciate not only the outputs but also the underlying generative processes of the AI system. Moreover, this approach highlights the importance of knowledge—practical skills, technical understanding, and art historical awareness—in engaging with AI systems. By drawing parallels with environmental appreciation, we emphasise that engaging with AI art is not a passive experience but an active exploration informed by understanding and intentionality. ## Conclusion We have proposed that extending Carlson's environmental model of aesthetic appreciation to generative AI art provides a framework for understanding and engaging with this emerging form of creativity. By conceptualising AI systems as artificial environments—machina naturans—we suggest that generative AI systems themselves can be aesthetically appreciated by users in a manner comparable to appreciating natural environments. The appreciation arises not only from the outputs but also from the process of engaging with the AI system's dynamic recalcitrance. Drawing parallels between gardeners and prompters, we have highlighted how grappling with an autonomous generative system constitutes a form of aesthetic appreciation. This perspective underscores the role of knowledge in engaging with these artificial environments. Understanding enables users to navigate the latent space effectively, enhancing both the creation and appreciation of AI-generated art. Integrating Carlson's model enriches the understanding of AI art appreciation, facilitating a deeper, more informed engagement with generative AI systems and their outputs. --- References - Carlson, A. (2000). Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture. Routledge. - Cooper, D. E. (2006). A Philosophy of Gardens. Oxford University Press. - Young, N., & Terrone, E. (2024). Growing the Image: Generative AI and the Medium of Gardening. The Philosophical Quarterly, 0(0), 1–10. [https://doi.org/10.1093/pq/pqae120](https://doi.org/10.1093/pq/pqae120) itself. This paper introduces a third way to appreciate aesthetics—**creative aspection**—which is different from these two categories. In creative aspection, people appreciate a system by creating within it. Examples include gardening, where one appreciates the environment by tending to it, or building with Lego, where one appreciates the Lego system by constructing with it. ## 1. Object-Based Aesthetic Appreciation Appreciating objects has long been important in aesthetics. When viewing a painting, for example, a person focuses on its visual elements like colors, shapes, and composition. The aesthetic experience comes from looking at the object itself. Allen Carlson introduces the idea of **acts of aspection**, which are the ways people look at and perceive objects or environments based on their features. He emphasizes that our aesthetic appreciation is guided by these ways, informed by what the object is and our understanding of it. The shift of emphasis to appreciation is followed up by Paul Ziff. Ziff’s treatment is informative in that it retains the insights of the disinterestedness position without embracing its flaws. As noted in Chapters 4 and 6, the essence of his account is the notion of an “act of aspection,” the way of attending to an object that in part constitutes its appropriate appreciation. Ziff argues that different acts of aspection are appropriate in the appreciation of, for example, works of art of different kinds, styles, and schools. Thus, knowledge of a work’s history and nature dictates the proper acts of aspection: appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component. Ziff further argues not simply that “anything that can be viewed is a fit object for aesthetic attention,” but that “anything viewed makes demands.” That objects of appreciation make demands means that following the lead of the object rules out the possibility of anything like a general criterion of aesthetic relevance. (Carlson, 1979, p. 19) Knowing the type of artwork directs our attention to specific features relevant to that style. To show this, Carlson compares Venetian and Florentine paintings: > "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates." (Carlson, 1979, p. 19) In appreciating a Venetian painting, one focuses on the play of colors and the harmonious arrangement, while a Florentine painting requires attention to precise lines and clear shapes. Ziff adds: > "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." (Ziff, 1979, p. 19) These examples show how acts of aspection are tailored to the specific qualities of the artwork, guiding how we look at it. Carlson emphasizes the important role of knowledge in aesthetic appreciation, arguing that understanding improves our engagement with an object or environment. He suggests that without knowledge, our experience would lack coherence, becoming merely "a meld of physical sensations" (Carlson, 1979, p. 21). Knowledge provides structure to our aesthetic experience, helping us notice important features and appreciate the object's true nature. He distinguishes between different types of knowledge that inform acts of aspection: - **Common-sense knowledge**: Everyday observations and practical understanding that help us make sense of immediate experiences. - **Scientific knowledge**: Systematic insights that deepen our understanding of the underlying principles and processes of the object or environment. Carlson argues that both types of knowledge are essential for meaningful aesthetic appreciation. For example, knowing the historical context and techniques used in Impressionist painting guides us to focus on light, color, and brushwork when viewing such artworks. This knowledge directs our attention to significant aspects, enriching our aesthetic experience. Moreover, Carlson argues that knowledge does not take away from aesthetic appreciation but is necessary for it. He suggests that even noticing the formal qualities in art depends on some level of understanding, as "the very identity of the formal elements of a work of art depends essentially upon the content of the work" (Carlson, 1979, p. 24). This shows that knowledge and aesthetic appreciation are closely linked. In the context of natural environments, Carlson's model extends this idea, arguing that scientific knowledge enhances our appreciation of nature. Understanding ecological relationships, geological formations, or biological processes allows us to see the environment more richly and appreciate its complexities. ## 2. Process-Based Aesthetic Appreciation Besides appreciating objects, aesthetics also involves appreciating **processes**, especially our own actions. Activities like games or dancing can be appreciated aesthetically from a first-person perspective. In these cases, the aesthetic experience is closely tied to the performer's actions and experiences. When dancing, for example, the dancer may appreciate the fluidity of their movements, the rhythm, and the coordination required. Similarly, in playing games, the player may find aesthetic value in the strategies used, the challenge of problem-solving, or the elegance of gameplay mechanics. This way of appreciation is internal and based on the experience, focusing on the process rather than an external object. C. Thi Nguyen, in his paper **"The Arts of Action"** (Nguyen, 2020), examines the idea of process aesthetics. He defines process aesthetics as "the aesthetics of activity from the perspective of the actor, including experiences of thinking, deciding, moving, and acting upon external objects" (Nguyen, 2020, p. 3). Nguyen argues that many activities we engage in have aesthetic qualities appreciated through our own actions. He notes that while traditional aesthetic theory has focused on appreciating objects, there is a domain of aesthetic experience in process-based activities. For example, **rock climbing** involves appreciating one's own movements and problem-solving strategies as climbers navigate routes. The aesthetic qualities come from the climber's engagement with the activity, not just from the physical environment. Nguyen points out that process arts involve things or systems designed to create activity in participants for the sake of their aesthetic appreciation of that activity. Examples include games, dance forms like contact improvisation, and culinary practices that emphasize the experience of cooking or eating as an aesthetic process. While Carlson's acts of aspection focus on the perception of objects informed by knowledge, Nguyen's process aesthetics emphasizes the aesthetic appreciation of one's own actions within an activity. Both approaches acknowledge the importance of knowledge but apply it differently—Carlson in perceiving external objects, Nguyen in engaging with processes. ## 3. Creative Aspection We propose **creative aspection** as a third way of aesthetic appreciation that combines elements of both object-based and process-based appreciation. In creative aspection, people appreciate a system by creating within it. This involves both perception and creation, where the act of creating within a system allows one to appreciate the system itself. **This concept can be further clarified by contrasting it with C. Thi Nguyen's notion of manufacturing generative arts. According to Nguyen, manufacturing arts are participatory arts where the participant creates a distinct artifact to be appreciated. For example, when assembling a smoked salmon bagel, the focus is on the final product—the bagel—which is external to the participant. The appreciation is directed toward this artifact that has been produced through their actions.** Creative aspection **differs from Nguyen's manufacturing arts because the appreciation is not solely centered on the artifact created but is deeply intertwined with the system that enables creation.** While manufacturing arts emphasize the end product, creative aspection involves an ongoing engagement with the system's possibilities, where the process of creation and the system itself become the primary objects of appreciation. Creative aspection involves working with a system's possibilities and limits to create something new. Through this creative engagement, people come to appreciate the underlying structure, rules, and features of the system. Knowledge plays a key role, as understanding the system informs and guides the creative actions, enhancing the aesthetic appreciation of both the process and the system. In this way, the acts of aspection involve not only noticing important aspects but also actively shaping the experience through creative actions. Knowledge directs both perception and creation, allowing people to engage deeply with the system and appreciate its aesthetic qualities. **Consider the example of gardening as a form of creative aspection. Unlike assembling a bagel, where the appreciation is directed at the assembled food item, gardening involves an immersive interaction with a living system.** The actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—require sensory engagement with the environment. Gardening involves adjusting our actions to the specific conditions of the garden, informed by our understanding of horticulture, botany, and ecology. Carlson's model emphasizes that appropriate aesthetic appreciation of nature requires us to appreciate it as natural and as an environment, informed by knowledge. He argues that knowledge enhances our aesthetic appreciation by revealing the true character of nature. Scientific knowledge allows us to understand ecological relationships, plant biology, and environmental processes, enriching our engagement with the garden. By creatively engaging with the garden, we not only shape the environment but also come to appreciate the system as a whole. Our understanding helps us make informed decisions, adapt to changing conditions, and develop a harmonious relationship with nature. This aligns with Carlson's view that knowledge is essential for meaningful aesthetic appreciation. **In contrast to Nguyen's manufacturing arts, where the artifact is the endpoint of appreciation, gardening as creative aspection emphasizes the continuous and reciprocal relationship between the gardener and the garden. The gardener's actions influence the garden, and the garden, in turn, informs the gardener's subsequent actions. The appreciation arises from this dynamic interplay with the natural system, rather than from a static product.** Another example of creative aspection is **building with Lego**. When people construct models with Lego bricks, they engage in a creative process that allows them to appreciate the Lego system. Understanding the various types of bricks, their connections, and structural possibilities informs the builder's actions. Both practical knowledge and specific knowledge about the system are important here. Basic principles of balance and symmetry guide construction, while familiarity with Lego's unique components and design conventions allows for more complex creations. This knowledge guides the creative process, enabling builders to explore the system's potential and appreciate its versatility. **Unlike the manufacturing art of making a bagel, where the assembly follows a relatively straightforward process to achieve a known outcome, building with Lego encourages exploration and innovation within the system's constraints. The builder's appreciation extends beyond the final model to include the creative possibilities and limitations inherent in the Lego system itself.** Building with Lego involves acts of aspection where knowledge informs perception and action. The builder focuses on important aspects of the system—such as the compatibility of pieces, structural integrity, and aesthetic design—guided by their understanding. This informed engagement enhances the aesthetic experience, as the builder appreciates both the process of creation and the resulting model. By creatively engaging with the Lego system, people come to appreciate its underlying structure and possibilities. Knowledge enables them to expand what can be constructed, fostering a deeper appreciation of the system's design and the creativity it inspires. **In Nguyen's manufacturing arts, the participant's role is to produce an artifact for appreciation, with the system serving merely as a means to that end. In creative aspection, however, the system itself is central to the aesthetic experience. The participant's creative actions are a way of engaging with and understanding the system, and the appreciation encompasses both the process and the system's inherent qualities.** C. Thi Nguyen's account of process aesthetics examines how people aesthetically appreciate their own actions within an activity. He states that in process aesthetics, the focus is on the performer's experience, with aesthetic qualities coming from the activity itself. In contrast, Carlson's acts of aspection focus on how people perceive and engage with objects or environments, informed by knowledge. The aesthetic appreciation arises from understanding the object's nature and paying attention to important features. Creative aspection combines these two ways by involving both perception and action. People engage creatively within a system, guided by knowledge, allowing them to appreciate both their own actions and the system itself. Knowledge informs both the acts of aspection and the creative process, enriching the aesthetic experience. In gardening, for example, the gardener not only appreciates the environment but also actively shapes it. Knowledge guides their actions, allowing them to create and maintain a garden that is aesthetically pleasing and ecologically balanced. Similarly, in Lego building, the builder appreciates the system by engaging creatively within it, with knowledge informing both the design and construction process. **Thus, creative aspection represents a synthesis of object-based and process-based appreciation, distinguished from Nguyen's manufacturing arts by its focus on the system rather than solely on the artifact. The participant's creative engagement with the system leads to a deeper understanding and appreciation of its complexities and potential, which is an integral part of the aesthetic experience.** Nguyen's concept of process aesthetics aligns with creative aspection in that both involve appreciation emerging from engagement and action. However, creative aspection specifically emphasizes the role of knowledge in guiding creative actions within a system, leading to an appreciation of the system itself. **In summary, creative aspection differs from manufacturing arts as described by Nguyen by shifting the focus from the production of an artifact to the exploration and appreciation of a system through creative activity.** This approach highlights the importance of knowledge and active engagement in shaping our aesthetic experiences, allowing us to appreciate the richness and possibilities of the systems we interact with. - Most up todate chat version of sections 1 and 2: https://chatgpt.com/c/673735ba-927c-8005-994e-34a9064ba5e3 # Creative Aspection We propose **creative aspection** as a third mode of aesthetic appreciation that integrates elements of both object-based and process-based appreciation. In creative aspection, individuals appreciate a system by engaging creatively within it. This mode involves both perception and creation, where the act of creating within a system allows one to appreciate the system itself. Creative aspection entails engaging with a system's inherent possibilities and constraints to create something new. Through this creative engagement, individuals come to appreciate the underlying structure, rules, and affordances of the system. Knowledge plays a pivotal role, as understanding the system informs and guides the creative actions, enhancing the aesthetic appreciation of both the process and the system. In this mode, the acts of aspection involve not only perceiving relevant aspects but also actively shaping the experience through creative actions. Knowledge directs both perception and creation, allowing individuals to engage deeply with the system and appreciate its aesthetic qualities. ## Examples of Creative Aspection ### Gardening as Aesthetic Appreciation of the Environment **Gardening** serves as a prime example of creative aspection. The actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—require perceptual and sensory engagement with the environment. Gardening involves adapting our actions to the particular conditions of the garden, informed by our understanding of horticulture, botany, and ecology. Carlson's natural environmental model emphasises that appropriate aesthetic appreciation of nature requires us to appreciate it as natural and as an environment, informed by knowledge. He argues that knowledge enhances our aesthetic appreciation by revealing the true character of nature. Scientific knowledge allows us to understand ecological relationships, plant biology, and environmental processes, enriching our engagement with the garden. By engaging creatively with the garden, we not only shape the environment but also come to appreciate the system as a whole. Our understanding enables us to make informed decisions, adapt to changing conditions, and foster a harmonious relationship with nature. This aligns with Carlson's view that knowledge is essential for meaningful aesthetic appreciation. ### Building with Lego as Appreciating the Lego System Another example of creative aspection is **building with Lego**. When individuals construct models with Lego bricks, they engage in a creative process that allows them to appreciate the Lego system. Understanding the various types of bricks, their connections, and structural possibilities informs the builder's actions. Both practical knowledge and system-specific knowledge are important here. Basic principles of balance and symmetry guide construction, while familiarity with Lego's unique components and design conventions allows for more complex creations. This knowledge guides the creative process, enabling builders to explore the system's potential and appreciate its versatility. Building with Lego involves acts of aspection where knowledge informs perception and action. The builder focuses on relevant aspects of the system—such as the compatibility of pieces, structural integrity, and aesthetic design—guided by their understanding. This informed engagement enhances the aesthetic experience, as the builder appreciates both the process of creation and the resulting model. By creatively engaging with the Lego system, individuals come to appreciate its underlying structure and possibilities. Knowledge enables them to push the boundaries of what can be constructed, fostering a deeper appreciation of the system's design and the creativity it inspires. ## Comparing Creative Aspection with Other Modes C. Thi Nguyen's account of process aesthetics examines how individuals aesthetically appreciate their own actions within an activity. He states that, in process aesthetics, the focus is on the performer's experience, with aesthetic qualities emerging from the activity itself. In contrast, Carlson's acts of aspection focus on how individuals perceive and engage with objects or environments, informed by knowledge. The aesthetic appreciation arises from understanding the object's nature and directing attention to relevant features. Creative aspection bridges these two modes by involving both perception and action. Individuals engage creatively within a system, guided by knowledge, allowing them to appreciate both their own actions and the system itself. Knowledge informs both the acts of aspection and the creative process, enriching the aesthetic experience. In gardening, for example, the gardener not only appreciates the environment but also actively shapes it. Knowledge guides their actions, allowing them to create and maintain a garden that is aesthetically pleasing and ecologically balanced. Similarly, in Lego building, the builder appreciates the system by engaging creatively within it, with knowledge informing both the design and construction process. Nguyen's concept of process aesthetics aligns with creative aspection in that both involve appreciation emerging from engagement and action. However, creative aspection specifically emphasises the role of knowledge in guiding creative actions within a system, leading to an appreciation of the system itself. ## Conclusion In addition to object-based and process-based aesthetic appreciation, we have proposed **creative aspection** as a third mode. Creative aspection involves appreciating a system by engaging in creative activities within it, with knowledge playing an essential role in informing and guiding our actions. Carlson's insights on the positive role of knowledge in aesthetic appreciation underscore the importance of understanding in all modes of appreciation. He emphasises that knowledge is integral to performing appropriate acts of aspection, allowing us to engage meaningfully with objects and environments. By understanding the nature of what we appreciate—whether it is art, natural environments, or creative systems—we can direct our attention to relevant features and deepen our aesthetic experiences. Carlson argues that even in cases where one might think knowledge detracts from aesthetic experience, it is actually essential. He suggests that without some level of understanding, "even the sparsest aesthetic appreciation" is not possible (Carlson, 1979, p. 25). Knowledge does not conflict with aesthetic appreciation but rather is necessary for it to occur. Nguyen's account of process aesthetics expands our understanding by highlighting the aesthetic appreciation of one's own actions within activities. By comparing process aesthetics to acts of aspection, we see that knowledge informs both perception and engagement, though in different ways. Whether appreciating a painting, performing a dance, tending a garden, or constructing with Lego, our understanding guides our acts of aspection, enriching our aesthetic experiences. Recognising creative aspection as a distinct mode of aesthetic appreciation highlights the interplay between knowledge and creativity in our engagement with objects and processes. --- **References** - Carlson, A. (1979). **Understanding and Aesthetic Experience**. In *Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture* (pp. 18–27). Routledge. - Nguyen, C. T. (2020). **The Arts of Action**. *Philosophers' Imprint*, 20(14), 1–27. - Ziff, P. (1979). **Anything Viewed**. In A. Carlson (Ed.), *Modern Readings in Aesthetics* (p. 19). New York: Holt, Rinehart, and Winston. # Creative Aspection ## Introduction People usually appreciate aesthetics in two main ways: by appreciating **objects** or by appreciating **processes**. The first involves looking at art like paintings or sculptures as separate items, focusing on how they look. The second involves appreciating our own actions or experiences, such as dancing or playing music, where the aesthetic experience comes from the activity itself. This paper introduces a third way to appreciate aesthetics—**creative aspection**—which is different from these two categories. In creative aspection, people appreciate a system by creating within it. Examples include gardening, where one appreciates the environment by tending to it, or building with Lego, where one appreciates the Lego system by constructing with it. ## 1. Object-Based Aesthetic Appreciation Appreciating objects has long been important in aesthetics. When viewing a painting, for example, a person focuses on its visual elements like colors, shapes, and composition. The aesthetic experience comes from looking at the object itself. Allen Carlson introduces the idea of **acts of aspection**, which are the ways people look at and perceive objects or environments based on their features. He emphasizes that our aesthetic appreciation is guided by these ways, informed by what the object is and our understanding of it. The shift of emphasis to appreciation is followed up by Paul Ziff. Ziff’s treatment is informative in that it retains the insights of the disinterestedness position without embracing its flaws. As noted in Chapters 4 and 6, the essence of his account is the notion of an “act of aspection,” the way of attending to an object that in part constitutes its appropriate appreciation. Ziff argues that different acts of aspection are appropriate in the appreciation of, for example, works of art of different kinds, styles, and schools. Thus, knowledge of a work’s history and nature dictates the proper acts of aspection: appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component. Ziff further argues not simply that “anything that can be viewed is a fit object for aesthetic attention,” but that “anything viewed makes demands.” That objects of appreciation make demands means that following the lead of the object rules out the possibility of anything like a general criterion of aesthetic relevance. (Carlson, 1979, p. 19) Knowing the type of artwork directs our attention to specific features relevant to that style. To show this, Carlson compares Venetian and Florentine paintings: > "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates." (Carlson, 1979, p. 19) In appreciating a Venetian painting, one focuses on the play of colors and the harmonious arrangement, while a Florentine painting requires attention to precise lines and clear shapes. Ziff adds: > "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." (Ziff, 1979, p. 19) These examples show how acts of aspection are tailored to the specific qualities of the artwork, guiding how we look at it. Carlson emphasizes the important role of knowledge in aesthetic appreciation, arguing that understanding improves our engagement with an object or environment. He suggests that without knowledge, our experience would lack coherence, becoming merely "a meld of physical sensations" (Carlson, 1979, p. 21). Knowledge provides structure to our aesthetic experience, helping us notice important features and appreciate the object's true nature. He distinguishes between different types of knowledge that inform acts of aspection: - **Common-sense knowledge**: Everyday observations and practical understanding that help us make sense of immediate experiences. - **Scientific knowledge**: Systematic insights that deepen our understanding of the underlying principles and processes of the object or environment. Carlson argues that both types of knowledge are essential for meaningful aesthetic appreciation. For example, knowing the historical context and techniques used in Impressionist painting guides us to focus on light, color, and brushwork when viewing such artworks. This knowledge directs our attention to significant aspects, enriching our aesthetic experience. Moreover, Carlson argues that knowledge does not take away from aesthetic appreciation but is necessary for it. He suggests that even noticing the formal qualities in art depends on some level of understanding, as "the very identity of the formal elements of a work of art depends essentially upon the content of the work" (Carlson, 1979, p. 24). This shows that knowledge and aesthetic appreciation are closely linked. In the context of natural environments, Carlson's model extends this idea, arguing that scientific knowledge enhances our appreciation of nature. Understanding ecological relationships, geological formations, or biological processes allows us to see the environment more richly and appreciate its complexities. ## 2. Process-Based Aesthetic Appreciation Besides appreciating objects, aesthetics also involves appreciating **processes**, especially our own actions. Activities like games or dancing can be appreciated aesthetically from a first-person perspective. In these cases, the aesthetic experience is closely tied to the performer's actions and experiences. When dancing, for example, the dancer may appreciate the fluidity of their movements, the rhythm, and the coordination required. Similarly, in playing games, the player may find aesthetic value in the strategies used, the challenge of problem-solving, or the elegance of gameplay mechanics. This way of appreciation is internal and based on the experience, focusing on the process rather than an external object. C. Thi Nguyen, in his paper **"The Arts of Action"** (Nguyen, 2020), examines the idea of process aesthetics. He defines process aesthetics as "the aesthetics of activity from the perspective of the actor, including experiences of thinking, deciding, moving, and acting upon external objects" (Nguyen, 2020, p. 3). Nguyen argues that many activities we engage in have aesthetic qualities appreciated through our own actions. He notes that while traditional aesthetic theory has focused on appreciating objects, there is a domain of aesthetic experience in process-based activities. For example, **rock climbing** involves appreciating one's own movements and problem-solving strategies as climbers navigate routes. The aesthetic qualities come from the climber's engagement with the activity, not just from the physical environment. Nguyen points out that process arts involve things or systems designed to create activity in participants for the sake of their aesthetic appreciation of that activity. Examples include games, dance forms like contact improvisation, and culinary practices that emphasize the experience of cooking or eating as an aesthetic process. While Carlson's acts of aspection focus on the perception of objects informed by knowledge, Nguyen's process aesthetics emphasizes the aesthetic appreciation of one's own actions within an activity. Both approaches acknowledge the importance of knowledge but apply it differently—Carlson in perceiving external objects, Nguyen in engaging with processes. ## 3. Creative Aspection We propose **creative aspection** as a third way of aesthetic appreciation that combines elements of both object-based and process-based appreciation. In creative aspection, people appreciate a system by creating within it. This involves both perception and creation, where the act of creating within a system allows one to appreciate the system itself. Creative aspection involves working with a system's possibilities and limits to create something new. Through this creative engagement, people come to appreciate the underlying structure, rules, and features of the system. Knowledge plays a key role, as understanding the system informs and guides the creative actions, enhancing the aesthetic appreciation of both the process and the system. In this way, the acts of aspection involve not only noticing important aspects but also actively shaping the experience through creative actions. Knowledge directs both perception and creation, allowing people to engage deeply with the system and appreciate its aesthetic qualities. **Gardening** is a good example of creative aspection. The actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—require sensory engagement with the environment. Gardening involves adjusting our actions to the specific conditions of the garden, informed by our understanding of horticulture, botany, and ecology. Carlson's model emphasizes that appropriate aesthetic appreciation of nature requires us to appreciate it as natural and as an environment, informed by knowledge. He argues that knowledge enhances our aesthetic appreciation by revealing the true character of nature. Scientific knowledge allows us to understand ecological relationships, plant biology, and environmental processes, enriching our engagement with the garden. By creatively engaging with the garden, we not only shape the environment but also come to appreciate the system as a whole. Our understanding helps us make informed decisions, adapt to changing conditions, and develop a harmonious relationship with nature. This aligns with Carlson's view that knowledge is essential for meaningful aesthetic appreciation. Another example of creative aspection is **building with Lego**. When people construct models with Lego bricks, they engage in a creative process that allows them to appreciate the Lego system. Understanding the various types of bricks, their connections, and structural possibilities informs the builder's actions. Both practical knowledge and specific knowledge about the system are important here. Basic principles of balance and symmetry guide construction, while familiarity with Lego's unique components and design conventions allows for more complex creations. This knowledge guides the creative process, enabling builders to explore the system's potential and appreciate its versatility. Building with Lego involves acts of aspection where knowledge informs perception and action. The builder focuses on important aspects of the system—such as the compatibility of pieces, structural integrity, and aesthetic design—guided by their understanding. This informed engagement enhances the aesthetic experience, as the builder appreciates both the process of creation and the resulting model. By creatively engaging with the Lego system, people come to appreciate its underlying structure and possibilities. Knowledge enables them to expand what can be constructed, fostering a deeper appreciation of the system's design and the creativity it inspires. C. Thi Nguyen's account of process aesthetics examines how people aesthetically appreciate their own actions within an activity. He states that in process aesthetics, the focus is on the performer's experience, with aesthetic qualities coming from the activity itself. In contrast, Carlson's acts of aspection focus on how people perceive and engage with objects or environments, informed by knowledge. The aesthetic appreciation arises from understanding the object's nature and paying attention to important features. Creative aspection combines these two ways by involving both perception and action. People engage creatively within a system, guided by knowledge, allowing them to appreciate both their own actions and the system itself. Knowledge informs both the acts of aspection and the creative process, enriching the aesthetic experience. In gardening, for example, the gardener not only appreciates the environment but also actively shapes it. Knowledge guides their actions, allowing them to create and maintain a garden that is aesthetically pleasing and ecologically balanced. Similarly, in Lego building, the builder appreciates the system by engaging creatively within it, with knowledge informing both the design and construction process. Nguyen's concept of process aesthetics aligns with creative aspection in that both involve appreciation emerging from engagement and action. However, creative aspection specifically emphasizes the role of knowledge in guiding creative actions within a system, leading to an appreciation of the system itself. ## Conclusion In addition to object-based and process-based aesthetic appreciation, we have proposed **creative aspection** as a third way. Creative aspection involves appreciating a system by engaging in creative activities within it, with knowledge playing an essential role in informing and guiding our actions. Carlson's insights on the positive role of knowledge in aesthetic appreciation highlight the importance of understanding in all ways of appreciation. He emphasizes that knowledge is key to performing appropriate acts of aspection, allowing us to engage meaningfully with objects and environments. By understanding the nature of what we appreciate—whether it is art, natural environments, or creative systems—we can focus on important features and deepen our aesthetic experiences. Carlson argues that even when one might think knowledge takes away from aesthetic experience, it is actually essential. He suggests that without some level of understanding, "even the sparsest aesthetic appreciation" is not possible (Carlson, 1979, p. 25). Knowledge does not conflict with aesthetic appreciation but is necessary for it to occur. Nguyen's account of process aesthetics broadens our understanding by highlighting the aesthetic appreciation of one's own actions within activities. By comparing process aesthetics to acts of aspection, we see that knowledge informs both perception and engagement, though in different ways. Whether appreciating a painting, performing a dance, tending a garden, or constructing with Lego, our understanding guides our acts of aspection, enriching our aesthetic experiences. Recognizing creative aspection as a distinct way of aesthetic appreciation highlights the connection between knowledge and creativity in our engagement with objects and processes. # Another version # Creative Aspection: A Third Mode of Aesthetic Appreciation ## Introduction In the study of aesthetics, discussions often revolve around two primary modes of appreciation: the appreciation of **objects** and the appreciation of **processes**. The former involves perceiving and valuing art forms such as paintings and music as distinct entities, centring on an object of appreciation that is often perceived through the senses. The latter encompasses the aesthetic appreciation of one's own actions or experiences, such as playing games or dancing, which are experienced firsthand. However, we propose that there exists a **third mode of aesthetic appreciation—creative aspection**—which differs from these established categories. In this mode, individuals appreciate a system by engaging in creative activities within it. This concept can be exemplified through activities like gardening, where one aesthetically appreciates the environment by cultivating it, or building with Lego, where one appreciates the Lego system through creative construction. ## Object-Based Aesthetic Appreciation Object-based appreciation is a traditional focus within aesthetics, involving the perception and valuation of tangible art forms. When observing a painting, a viewer engages with its visual elements—the colours, forms, and composition—that constitute the artwork. The aesthetic experience arises from this perceptual engagement with the object itself. Allen Carlson introduces the concept of **"acts of aspection,"** referring to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. He emphasises that our aesthetic appreciation is guided by these acts, informed by the nature of the object and our understanding of it. Carlson states that **"appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component."** Understanding the type of artwork directs our attention to specific features relevant to that style. To illustrate this, Carlson contrasts Venetian and Florentine paintings. He explains: > **"Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates."** In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes. Ziff further illustrates this by noting: > **"I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved."** These examples demonstrate how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. ### The Role of Knowledge in Acts of Aspection Carlson emphasises the **positive role of knowledge** in aesthetic appreciation, arguing that understanding is essential for meaningful engagement with an object or environment. Without knowledge, our experience would become a **"blooming, buzzing confusion,"** merely **"a meld of physical sensations"** that lacks coherent appreciation. Knowledge provides the necessary structure to our aesthetic experience, enabling us to discern relevant features and appreciate the object's true nature. He distinguishes between different types of knowledge that inform acts of aspection: - **Common-sense knowledge**: Everyday observations and practical understanding that allow us to make sense of our immediate experiences. - **Scientific knowledge**: Systematic and theoretical insights that deepen our understanding of the underlying principles and processes of the object or environment. Carlson argues that both types of knowledge enhance our ability to perform appropriate acts of aspection. In the context of art appreciation, knowledge of art history, artistic techniques, and stylistic conventions directs our attention to relevant aspects of the artwork. For example, understanding the characteristics of Impressionist painting guides us to focus on light, colour, and brushwork when viewing such artworks. Without this knowledge, we might miss significant features or misinterpret what we perceive. Carlson warns that lacking understanding leads to superficial appreciation, where we might focus on irrelevant details or impose inappropriate frameworks on the object. Knowledge enables us to appreciate the object as it truly is, respecting its nature and context. Moreover, Carlson's **natural environmental model** extends this concept to the appreciation of nature. He contends that just as knowledge informs our appreciation of art, it also enriches our engagement with the natural environment. Scientific knowledge—gained from disciplines such as geology, biology, and ecology—reveals the intricacies of nature, allowing us to appreciate it more profoundly. By understanding natural processes and phenomena, we can perform acts of aspection that are responsive to the environment's true character. # Aspection and Gardening Draft (Revised) --- ### 1. Aspection and Appreciation 1. **Allen Carlson introduces the concept of "acts of aspection,"** which refers to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. **He emphasises that our aesthetic appreciation is guided by these acts of aspection, informed by the nature of the object itself and our understanding of it. Carlson states that "appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component."** For instance, in art appreciation, different styles of art require different perceptual approaches. **As Carlson notes, "In knowing the type we know what and how to appreciate"** (Carlson, Chapter 4, p. 42). This highlights that understanding the type of artwork directs our attention to specific features relevant to that style. 2. **To illustrate this, Carlson contrasts Venetian and Florentine paintings.** He explains, "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates" (Carlson, Chapter 4, p. 42). In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes. Ziff further illustrates this by noting, "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." This example demonstrates how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. 3. **Carlson extends the concept of acts of aspection to the appreciation of natural environments.** He suggests that just as different art styles necessitate specific perceptual approaches, so too do different natural settings require distinct acts of aspection. For example, "we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). **This shows that, similar to different types of artwork requiring specific acts of aspection, different natural environments also necessitate particular methods of engagement. 4. **Understanding plays a crucial role in acts of aspection.** Carlson argues that our knowledge of the object or environment informs how we engage with it aesthetically. He notes that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). In the context of art, understanding the medium, style, and historical background of a work guides our perception and interpretation. Similarly, in natural environments, our knowledge of ecological features and processes shapes our sensory engagement. **Carlson warns that without such understanding, our experience would become a "blooming, buzzing confusion," merely "a meld of physical sensations" that lacks coherent appreciation (Carlson, Chapter 4, p. 43). Therefore, knowledge provides the necessary structure to our aesthetic experience, enabling meaningful engagement rather than sensory overload.** 5. **Carlson distinguishes between different types of knowledge that inform acts of aspection.** Common-sense knowledge encompasses everyday observations and practical understanding. Scientific knowledge involves systematic study and insights into natural processes. Artistic knowledge pertains to awareness of artistic techniques and historical developments. **He states, "These forms of knowledge collectively enhance our ability to perform appropriate acts of aspection, deepening our aesthetic appreciation by informing us what to focus on and how to engage with the object or environment" (Carlson, Chapter 4, p. 44).** As Carlson notes, "In knowing the type we know what and how to appreciate," and these forms of knowledge guide us in our perceptual engagement. %% the above should also mention that different acts can be done in the same environment, and this can be related to skill level %% --- ### 2. Gardening and Creative Aspection 1. **In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection.** **These acts are a particular type of aspection, which we might call acts of creative aspection, in that they involve the appreciation of something by using that something to create something else.** **In this section, we will suggest that gardening can be thought of as consisting of different acts of aspection.** 2. **The physical actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—are analogous to acts of aspection because they necessitate a perceptual and sensory engagement with the environment.** Just as Carlson describes different environments requiring specific acts of aspection, gardening involves adapting our actions to the particular conditions of the garden. For instance, tending to a vegetable garden demands attention to soil fertility, moisture levels, and sunlight exposure, whereas cultivating a flower garden might focus on colour combinations, bloom timings, and fragrance. Similarly, different types of gardens necessitate distinct gardening actions informed by our understanding of the plants and environmental conditions, paralleling the need for specific acts of aspection in different environments. These activities require us to observe and respond to the unique characteristics of our gardening environment. 3. **Moreover, gardening involves specific acts of aspection that connect appreciation and action.** Just as in art and natural environments where our knowledge guides our perceptual engagement, in gardening, our understanding of horticulture and ecology informs how we attend to the garden. We perform acts of aspection by focusing on relevant aspects of the garden—such as plant health, soil conditions, and ecological interactions—and this informed attention enhances our aesthetic appreciation. **In this way, appreciation and aspection are intimately connected in gardening, as our actions are guided by both sensory engagement and knowledgeable understanding.** 4. **Knowledge plays a significant role in shaping our gardening actions and the acts of aspection we perform.** Understanding horticulture, botany, and ecology informs our decisions and enhances our engagement. For example, knowing the specific nutrient requirements of certain plants guides how we fertilise the soil, and understanding pest life cycles influences our approach to pest management. This knowledge informs our acts of aspection in gardening, allowing us to focus on relevant aspects of the garden environment and to engage with it effectively. This knowledge allows us to appreciate the complexities of the garden ecosystem and to interact with it more effectively. Carlson's view that "in knowing the type we know what and how to appreciate" applies here, as our understanding directs our focus and enriches our aesthetic experience. 5. **A key difference between gardening and Carlson's examples is that gardening is a creative act of aspection that leads to the creation or alteration of the appreciated object.** While Carlson's acts of aspection in natural environments involve appreciating without necessarily changing the environment, gardening inherently involves modifying the landscape. By planting new species, pruning existing plants, or designing garden layouts, we actively shape the environment. Unlike imposing art-specific appreciation methods onto nature, gardening involves a partnership with nature, emphasizing adaptation and response over control, which resonates with Carlson's caution against inappropriate assimilation. This creative engagement adds a layer of appreciation, as we not only perceive but also contribute to the beauty of the garden. 6. **Gardening can be framed as an art form that allows for simultaneous creation and appreciation.** Unlike painting or writing, where the act of creation is separate from the act of appreciation, gardening blends the two processes. As we cultivate the garden, we are both creators and observers, experiencing the evolving aesthetic qualities firsthand. Moreover, gardening does not involve creation ex nihilo; instead, we collaborate with nature's existing materials and processes. This partnership with nature emphasises the autonomous qualities of the environment, requiring us to adapt and respond rather than exert complete control. This aligns with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. In this way, gardening follows the lead of the natural environment, adhering to Carlson's principle of object-oriented appreciation, where our actions are guided by the nature of the object itself. # Another version of section 1 and 2 # Aspection and Gardening Draft **Section I: Carlson's Concept of Acts of Aspection** 1. Allen Carlson introduces the concept of **"acts of aspection,"** which refers to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. **He emphasises that our aesthetic appreciation is guided by these acts of aspection, which are informed by the nature of the object itself.** For instance, in art appreciation, different styles of art require different perceptual approaches. Carlson states, **"A different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence"** (Carlson, Chapter 4, p. 42). **This highlights that understanding the type of artwork directs our attention to specific features relevant to that style.** 2. **To illustrate this, Carlson contrasts Venetian and Florentine paintings.** He explains, **"Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates"** (Carlson, Chapter 4, p. 42). **In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes.** This example demonstrates how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. 3. Carlson extends the concept of acts of aspection to the appreciation of natural environments. **He suggests that just as different art styles necessitate specific perceptual approaches, so too do different natural settings require distinct acts of aspection.** For example, **"we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine"** (Carlson, Chapter 4, p. 50). **This comparison highlights that the environment itself dictates the appropriate method of engagement, focusing our senses on features pertinent to that setting.** 4. **Understanding plays a crucial role in acts of aspection.** Carlson argues that our knowledge of the object or environment informs how we engage with it aesthetically. **He notes that "in knowing the type we know what and how to appreciate"** (Carlson, Chapter 4, p. 42). **In the context of art, understanding the medium, style, and historical background of a work guides our perception and interpretation. Similarly, in natural environments, our knowledge of ecological features and processes shapes our sensory engagement.** Without such understanding, we may miss significant aspects or misinterpret what we perceive. 5. **Carlson distinguishes between different types of knowledge that inform acts of aspection.** **Common-sense knowledge** encompasses everyday observations and practical understanding. **Scientific knowledge** involves systematic study and insights into natural processes. **Artistic knowledge** pertains to awareness of artistic techniques and historical developments. **These forms of knowledge collectively enhance our ability to perform appropriate acts of aspection, deepening our aesthetic appreciation by informing us what to focus on and how to engage with the object or environment.** --- # Section II: Gardening as an Act of Creative Aspection 6. In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection. Unlike the types of aspection we've just looked at, these acts are what we might call **acts of creative aspection**, in that they involve the appreciation of something by using that something to create something else. **Gardening requires us to engage directly with the natural environment, responding to its inherent qualities through active participation.** 7. **The physical actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—are analogous to acts of aspection because they necessitate a perceptual and sensory engagement with the environment.** Just as Carlson describes different environments requiring specific acts of aspection, gardening involves adapting our actions to the particular conditions of the garden. **For instance, tending to a vegetable garden demands attention to soil fertility, moisture levels, and sunlight exposure, whereas cultivating a flower garden might focus on colour combinations, bloom timings, and fragrance.** These activities require us to observe and respond to the unique characteristics of our gardening environment. 8. **Gardening also involves rich sensory feedback that parallels Carlson's environmental aspection examples.** When gardening, we **feel the texture and moisture of the soil, notice the growth patterns of plants, and observe the interplay of light and shade.** We might **listen to the rustling of leaves or the buzzing of pollinators**, and **smell the earthy aroma of freshly turned soil or the scent of blossoms.** These sensory experiences are integral to the gardening process, just as they are in Carlson's examples of surveying a prairie or examining a forest floor. **Our actions are guided by these sensory inputs, enabling us to perform acts of aspection that are responsive to the environment.** 9. **Knowledge plays a significant role in shaping our gardening actions and the acts of aspection we perform.** Understanding horticulture, botany, and ecology informs our decisions and enhances our engagement. **For example, knowing the specific nutrient requirements of certain plants guides how we fertilise the soil, and understanding pest life cycles influences our approach to pest management.** This knowledge allows us to appreciate the complexities of the garden ecosystem and to interact with it more effectively. **Carlson's view that "in knowing the type we know what and how to appreciate" applies here, as our understanding directs our focus and enriches our aesthetic experience.** 10. **A key difference between gardening and Carlson's examples is that gardening is a creative act of aspection that leads to the creation or alteration of the appreciated object.** While Carlson's acts of aspection in natural environments involve appreciating without necessarily changing the environment, gardening inherently involves modifying the landscape. **By planting new species, pruning existing plants, or designing garden layouts, we actively shape the environment.** This creative engagement adds a layer of appreciation, as we not only perceive but also contribute to the beauty of the garden. 11. **Gardening can be framed as an art form that allows for simultaneous creation and appreciation.** Unlike painting or writing, where the act of creation is separate from the act of appreciation, gardening blends the two processes. **As we cultivate the garden, we are both creators and observers, experiencing the evolving aesthetic qualities firsthand.** Moreover, gardening does not involve creation ex nihilo; instead, we collaborate with nature's existing materials and processes. **This partnership with nature emphasises the autonomous qualities of the environment, requiring us to adapt and respond rather than exert complete control.** This aligns with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. # New Draft of Section 1 and 2 ## Aspection and Gardening Draft 1. Allen Carlson, in his natural environmental model, argues that appropriate appreciation of the natural environment is analogous to art appreciation and necessitates specific methods of engagement guided by understanding. He states that "the question of what to aesthetically appreciate in the natural environment is to be answered in a way analogous to the similar question about art. The difference is that in the case of the natural environment the relevant knowledge is the common-sense/scientific knowledge that we have discovered about the environment in question" (Carlson, Chapter 4, p. 49-50). This suggests that understanding the characteristics and context of the environment informs both the selection of significant features to appreciate and the appropriate methods of engagement. 2. Central to Carlson's theory is the concept of "acts of aspection," which are the particular ways individuals engage with and perceive objects or environments based on their knowledge of their nature and context. He illustrates this by noting that "a different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence. Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates" (Carlson, Chapter 4, p. 42). Knowledge of artistic traditions and styles directs the observer's perceptual approach, enhancing the aesthetic experience by focusing attention on aspects that are significant within that context. 3. In the realm of natural environments, Carlson applies this idea by explaining that different environments necessitate different acts of aspection, guided by common-sense and scientific knowledge. He notes, "Consider different natural environments. It seems that we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). The observer's understanding of the environment's features informs the appropriate method of engagement, allowing for a nuanced appreciation of its aesthetic qualities. 4. Carlson argues that knowledge serves as the foundation for determining the appropriate foci of aesthetic significance and setting the boundaries of appreciation. In art, this includes understanding the medium, style, and historical context of a work, which guides the viewer's perception and interpretation. Similarly, in natural environments, scientific knowledge about ecosystems, species, and geological formations informs what aspects are significant and how they contribute to the overall aesthetic experience. Without such knowledge, the observer may overlook critical features or misinterpret the environment, resulting in a reduced appreciation. 5. Furthermore, Carlson distinguishes between different types of knowledge—common-sense knowledge, which encompasses everyday observations and practical understanding; scientific knowledge, which involves systematic study and theoretical insights into natural processes; and artistic knowledge, which pertains to awareness of artistic techniques, conventions, and historical developments. These forms of knowledge collectively enable individuals to perform appropriate acts of aspection by informing them about what to focus on and how to engage with the object or environment. ## Section II: Gardening as an Act of Creative Aspection 6. In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection. Unlike the types of aspection we've just looked at, these acts are what we might call acts of creative aspection, in that they involve the appreciation of something by using that something to create something else. Gardening involves direct, informed engagement with the natural environment, making it a pertinent example of an act of aspection within Carlson's framework. Unlike artistic activities such as painting or writing, which often begin with a blank canvas or page, gardening requires working with existing natural elements and processes. The gardener works with living organisms and ecological systems, using knowledge to guide their actions and respond to the autonomy of nature. This interaction raises the question of whether gardening can be considered an act of aspection and how it aligns with Carlson's emphasis on knowledge-guided appreciation. 7. The types of knowledge employed in gardening include practical, common-sense understanding and scientific insights. Practical knowledge encompasses familiarity with soil conditions, climate patterns, and basic plant care—information often acquired through experience and observation. Scientific knowledge involves understanding botanical principles, ecological relationships, and environmental factors that affect plant growth. This knowledge informs the gardener's decisions about what to plant, how to cultivate it, and how to manage the garden over time. The gardener's engagement with the garden is thus shaped by this knowledge, directing their attention to specific aspects of the natural world. 8. Gardening can be considered an act of creative aspection because the gardener's knowledge guides their engagement with the environment, shaping both their actions and their perceptual experience. By cultivating plants, pruning, and sowing seeds, the gardener focuses on particular features of the natural world, such as the growth patterns of plants, soil conditions, and ecological interactions. Through planting, pruning, and observing growth, the gardener focuses on particular features of the natural world, such as the development of plant structures, the interplay of species, or the effects of environmental changes. These focal points are determined by the gardener's understanding of horticultural principles and ecological dynamics. The gardener's acts of aspection are thus informed by knowledge and tailored to the specific context of their garden. 9. Moreover, gardening differs from other creative acts because it involves interaction with an autonomous system—nature—that has its own processes and unpredictability. The gardener cannot fully control the outcomes but must adapt to factors such as weather variations, pest infestations, and the inherent growth patterns of plants. This hands-on engagement parallels Carlson's examples of surveying a prairie landscape or examining the forest floor. Just as an observer in a prairie might feel the wind and note the subtle contours of the land, the gardener assesses the texture and moisture of the soil, senses the ambient temperature, and observes the interplay of light and shade in their garden. This dynamic requires the gardener to perform acts of aspection that are responsive and adaptable, aligning with Carlson's view that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). The gardener's appreciation of the garden emerges from this informed and responsive engagement with the natural environment. 10. Gardening involves a rich sensory engagement: feeling the dampness and density of the soil, noticing the texture of leaves and stems, smelling the fragrance of flowers and earth, and listening to the sounds of insects and birds attracted to the garden. These sensory experiences are enhanced by the gardener's understanding of plant biology and ecology, which informs their perception and appreciation of the natural processes at work. The gardener's technical skills are developed through a combination of practical experience and theoretical knowledge. This expertise allows them to influence the growth and aesthetics of the garden while also deepening their appreciation of the complex interactions within the ecosystem. By engaging with the garden in this knowledgeable and creative way, the gardener enhances their aesthetic experience of the natural environment. 11. Gardening may be a better candidate for an act of aspection than painting or writing because it involves working with existing materials and collaborating with an autonomous system, rather than creating ex nihilo. In painting or writing, the artist exercises significant control over inert materials, shaping them according to their intentions. In contrast, the gardener works with living organisms that grow and change independently, requiring a different kind of engagement. The gardener's knowledge allows them to influence the garden, but they must also appreciate and adapt to the natural processes at play. This collaborative aspect of gardening aligns closely with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. # Older draftAspection and Gardening Draft Allen Carlson, in his natural environmental model, argues that appropriate appreciation of the natural environment is analogous to art appreciation and necessitates specific methods of engagement guided by understanding. Central to his theory is the concept of "acts of aspection," which are the particular ways individuals engage with and perceive objects or environments based on their knowledge of their nature and context. This paper examines the idea that both gardening and the use of generative AI systems, such as Midjourney, can be understood as acts of aspection within Carlson's framework. By exploring how specialised knowledge directs the creation process in both gardening and generative AI art, the argument seeks to demonstrate that creation itself can serve as a means of aesthetic appreciation. The central claim is that engaging with autonomous systems—natural or artificial—through informed creation enhances aesthetic experience by deepening understanding and perception of these systems. # Section I: Carlson's Concept of Acts of Aspection and the Role of Knowledge in Aesthetic Appreciation Allen Carlson proposes that the aesthetic appreciation of nature should be approached in a manner similar to that of art appreciation, where knowledge plays a role in guiding perception and engagement. He asserts that "the question of what to aesthetically appreciate in the natural environment is to be answered in a way analogous to the similar question about art. The difference is that in the case of the natural environment the relevant knowledge is the common-sense/scientific knowledge that we have discovered about the environment in question" (Carlson, Chapter 4, p. 49-50). This perspective suggests that understanding the characteristics and context of the environment informs both the selection of significant features to appreciate and the appropriate methods of engagement. Central to Carlson's theory is the concept of "acts of aspection," which refers to the specific ways individuals engage with and perceive artworks or environments, informed by their knowledge of the subject. He illustrates this by noting that "a different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence. Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours, the linear style predominates" (Carlson, Chapter 4, p. 42). Knowledge of artistic traditions and styles directs the observer's perceptual approach, enhancing the aesthetic experience by focusing attention on aspects that are significant within that context. In the realm of natural environments, Carlson extends this idea by asserting that different environments necessitate different acts of aspection, guided by common-sense and scientific knowledge. He states, "Consider different natural environments. It seems that we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). The observer's understanding of the environment's features informs the appropriate method of engagement, allowing for a nuanced appreciation of its aesthetic qualities. Carlson emphasises that knowledge serves as the foundation for determining the appropriate foci of aesthetic significance and setting the boundaries of appreciation. In art, this includes understanding the medium, style, and historical context of a work, which guides the viewer's perception and interpretation. Similarly, in natural environments, scientific knowledge about ecosystems, species, and geological formations informs what aspects are significant and how they contribute to the overall aesthetic experience. Without such knowledge, the observer may overlook critical features or misinterpret the environment, resulting in a diminished appreciation. Furthermore, Carlson distinguishes between different types of knowledge—common-sense, scientific, and artistic—and highlights their roles in shaping aesthetic appreciation. Common-sense knowledge encompasses everyday observations and practical understanding, while scientific knowledge involves systematic study and theoretical insights into natural processes. Artistic knowledge pertains to awareness of artistic techniques, conventions, and historical developments. These forms of knowledge collectively enable individuals to perform appropriate acts of aspection by informing them about what to focus on and how to engage with the object or environment. # Section II: Gardening as an Act of Aspection Gardening involves direct, informed engagement with the natural environment, making it a pertinent example of an act of aspection within Carlson's framework. Unlike artistic activities such as painting or writing, which often begin with a blank canvas or page, gardening requires working with existing natural elements and processes. The gardener collaborates with living organisms and ecological systems, utilising knowledge to guide their actions and respond to the autonomy of nature. This interaction raises the question of whether gardening can be considered an act of aspection and how it aligns with Carlson's emphasis on knowledge-guided appreciation. The types of knowledge employed in gardening include practical, common-sense understanding and scientific insights. Practical knowledge encompasses familiarity with soil conditions, climate patterns, and basic plant care—information often acquired through experience and observation. Scientific knowledge involves understanding botanical principles, ecological relationships, and environmental factors that affect plant growth. This knowledge informs the gardener's decisions about what to plant, how to cultivate it, and how to manage the garden over time. The gardener's engagement with the garden is thus shaped by this knowledge, directing their attention to specific aspects of the natural world. Gardening can be considered an act of aspection because the gardener's knowledge guides their engagement with the environment, shaping both their actions and their perceptual experience. Through planting, pruning, and observing growth, the gardener focuses on particular features of the natural world, such as the development of plant structures, the interplay of species, or the effects of environmental changes. These focal points are determined by the gardener's understanding of horticultural principles and ecological dynamics. The gardener's acts of aspection are thus informed by knowledge and tailored to the specific context of their garden. Moreover, gardening differs from other creative acts because it involves interaction with an autonomous system—nature—that has its own processes and unpredictability. The gardener cannot fully control the outcomes but must adapt to factors such as weather variations, pest infestations, and the inherent growth patterns of plants. This dynamic requires the gardener to perform acts of aspection that are responsive and adaptable, aligning with Carlson's view that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). The gardener's appreciation of the garden emerges from this informed and responsive engagement with the natural environment. Gardening may be a better candidate for an act of aspection than painting or writing because it involves working with existing materials and collaborating with an autonomous system, rather than creating ex nihilo. In painting or writing, the artist exercises significant control over inert materials, shaping them according to their intentions. In contrast, the gardener works with living organisms that grow and change independently, requiring a different kind of engagement. The gardener's knowledge allows them to influence the garden, but they must also appreciate and adapt to the natural processes at play. This collaborative aspect of gardening aligns closely with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. # Section III: Generative AI Art as an Act of Aspection The use of generative AI systems, such as Midjourney, presents a parallel to gardening in the context of acts of aspection. Users interact with these AI systems to create art by inputting prompts and adjusting parameters, but the outputs are generated through complex algorithms that operate autonomously. The user's engagement with the AI system is guided by both technical knowledge and artistic understanding, which shapes their approach and influences the outcomes. This raises the question of whether creating art with generative AI can be considered an act of aspection within Carlson's framework. Technical knowledge includes understanding how the AI interprets language, processes data, and generates images. Users need to be familiar with concepts such as algorithmic behaviour, the structure of latent spaces, and the limitations of the system. Artistic knowledge involves awareness of visual aesthetics, art history, and stylistic conventions, informing the user's goals and preferences in the creation process. This combination of knowledge directs the user's engagement with the AI system, determining how they formulate prompts, interpret outputs, and refine their inputs. Creating art with generative AI can be considered an act of aspection because the user's knowledge guides their interaction with the AI system, shaping both the creative process and their perceptual experience. The user focuses on specific aspects of the AI's capabilities, exploring the creative potential of the system through experimentation and adaptation. This engagement is informed by their understanding of the technical and artistic dimensions of the process, allowing them to perform acts of aspection that are tailored to the context of generative AI art. Like gardening, the use of generative AI involves collaboration with an autonomous system that possesses its own processes and unpredictability. The user cannot fully control the outputs but can influence them through informed engagement. This dynamic aligns with Carlson's emphasis on knowledge-guided acts of aspection, where understanding the nature of the system informs the method of engagement and enhances aesthetic appreciation. The user's appreciation of the AI-generated art extends beyond the final artefact to include an appreciation of the system's complexity and the creative process itself. Furthermore, the practice of creating art with generative AI shares similarities with gardening in that both involve working with existing structures and systems, rather than creating entirely new ones. In both cases, the practitioner utilises their knowledge to influence outcomes within the constraints of the system, whether it is the natural processes of a garden or the algorithms of an AI. This suggests that the concept of acts of aspection can be extended to include creation in artificial contexts, provided that the engagement is guided by relevant knowledge and involves interaction with an autonomous system. # Creative Aspection We propose **creative aspection** as a third mode of aesthetic appreciation that integrates elements of both object-based and process-based appreciation. In creative aspection, individuals appreciate a system by engaging creatively within it. This mode involves both perception and creation, where the act of creating within a system allows one to appreciate the system itself. Creative aspection entails engaging with a system's inherent possibilities and constraints to create something new. Through this creative engagement, individuals come to appreciate the underlying structure, rules, and affordances of the system. Knowledge plays a pivotal role, as understanding the system informs and guides the creative actions, enhancing the aesthetic appreciation of both the process and the system. In this mode, the acts of aspection involve not only perceiving relevant aspects but also actively shaping the experience through creative actions. Knowledge directs both perception and creation, allowing individuals to engage deeply with the system and appreciate its aesthetic qualities. ## Examples of Creative Aspection ### Gardening as Aesthetic Appreciation of the Environment **Gardening** serves as a prime example of creative aspection. The actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—require perceptual and sensory engagement with the environment. Gardening involves adapting our actions to the particular conditions of the garden, informed by our understanding of horticulture, botany, and ecology. Carlson's natural environmental model emphasises that appropriate aesthetic appreciation of nature requires us to appreciate it as natural and as an environment, informed by knowledge. He argues that knowledge enhances our aesthetic appreciation by revealing the true character of nature. Scientific knowledge allows us to understand ecological relationships, plant biology, and environmental processes, enriching our engagement with the garden. By engaging creatively with the garden, we not only shape the environment but also come to appreciate the system as a whole. Our understanding enables us to make informed decisions, adapt to changing conditions, and foster a harmonious relationship with nature. This aligns with Carlson's view that knowledge is essential for meaningful aesthetic appreciation. ### Building with Lego as Appreciating the Lego System Another example of creative aspection is **building with Lego**. When individuals construct models with Lego bricks, they engage in a creative process that allows them to appreciate the Lego system. Understanding the various types of bricks, their connections, and structural possibilities informs the builder's actions. Both practical knowledge and system-specific knowledge are important here. Basic principles of balance and symmetry guide construction, while familiarity with Lego's unique components and design conventions allows for more complex creations. This knowledge guides the creative process, enabling builders to explore the system's potential and appreciate its versatility. Building with Lego involves acts of aspection where knowledge informs perception and action. The builder focuses on relevant aspects of the system—such as the compatibility of pieces, structural integrity, and aesthetic design—guided by their understanding. This informed engagement enhances the aesthetic experience, as the builder appreciates both the process of creation and the resulting model. By creatively engaging with the Lego system, individuals come to appreciate its underlying structure and possibilities. Knowledge enables them to push the boundaries of what can be constructed, fostering a deeper appreciation of the system's design and the creativity it inspires. ## Comparing Creative Aspection with Other Modes C. Thi Nguyen's account of process aesthetics examines how individuals aesthetically appreciate their own actions within an activity. He states that, in process aesthetics, the focus is on the performer's experience, with aesthetic qualities emerging from the activity itself. In contrast, Carlson's acts of aspection focus on how individuals perceive and engage with objects or environments, informed by knowledge. The aesthetic appreciation arises from understanding the object's nature and directing attention to relevant features. Creative aspection bridges these two modes by involving both perception and action. Individuals engage creatively within a system, guided by knowledge, allowing them to appreciate both their own actions and the system itself. Knowledge informs both the acts of aspection and the creative process, enriching the aesthetic experience. In gardening, for example, the gardener not only appreciates the environment but also actively shapes it. Knowledge guides their actions, allowing them to create and maintain a garden that is aesthetically pleasing and ecologically balanced. Similarly, in Lego building, the builder appreciates the system by engaging creatively within it, with knowledge informing both the design and construction process. Nguyen's concept of process aesthetics aligns with creative aspection in that both involve appreciation emerging from engagement and action. However, creative aspection specifically emphasises the role of knowledge in guiding creative actions within a system, leading to an appreciation of the system itself. ## Conclusion In addition to object-based and process-based aesthetic appreciation, we have proposed **creative aspection** as a third mode. Creative aspection involves appreciating a system by engaging in creative activities within it, with knowledge playing an essential role in informing and guiding our actions. Carlson's insights on the positive role of knowledge in aesthetic appreciation underscore the importance of understanding in all modes of appreciation. He emphasises that knowledge is integral to performing appropriate acts of aspection, allowing us to engage meaningfully with objects and environments. By understanding the nature of what we appreciate—whether it is art, natural environments, or creative systems—we can direct our attention to relevant features and deepen our aesthetic experiences. Carlson argues that even in cases where one might think knowledge detracts from aesthetic experience, it is actually essential. He suggests that without some level of understanding, "even the sparsest aesthetic appreciation" is not possible (Carlson, 1979, p. 25). Knowledge does not conflict with aesthetic appreciation but rather is necessary for it to occur. Nguyen's account of process aesthetics expands our understanding by highlighting the aesthetic appreciation of one's own actions within activities. By comparing process aesthetics to acts of aspection, we see that knowledge informs both perception and engagement, though in different ways. Whether appreciating a painting, performing a dance, tending a garden, or constructing with Lego, our understanding guides our acts of aspection, enriching our aesthetic experiences. Recognising creative aspection as a distinct mode of aesthetic appreciation highlights the interplay between knowledge and creativity in our engagement with objects and processes. --- **References** - Carlson, A. (1979). **Understanding and Aesthetic Experience**. In *Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture* (pp. 18–27). Routledge. - Nguyen, C. T. (2020). **The Arts of Action**. *Philosophers' Imprint*, 20(14), 1–27. - Ziff, P. (1979). **Anything Viewed**. In A. Carlson (Ed.), *Modern Readings in Aesthetics* (p. 19). New York: Holt, Rinehart, and Winston. # Creative Aspection ## Introduction People usually appreciate aesthetics in two main ways: by appreciating **objects** or by appreciating **processes**. The first involves looking at art like paintings or sculptures as separate items, focusing on how they look. The second involves appreciating our own actions or experiences, such as dancing or playing music, where the aesthetic experience comes from the activity itself. This paper introduces a third way to appreciate aesthetics—**creative aspection**—which is different from these two categories. In creative aspection, people appreciate a system by creating within it. Examples include gardening, where one appreciates the environment by tending to it, or building with Lego, where one appreciates the Lego system by constructing with it. ## 1. Object-Based Aesthetic Appreciation Appreciating objects has long been important in aesthetics. When viewing a painting, for example, a person focuses on its visual elements like colors, shapes, and composition. The aesthetic experience comes from looking at the object itself. Allen Carlson introduces the idea of **acts of aspection**, which are the ways people look at and perceive objects or environments based on their features. He emphasizes that our aesthetic appreciation is guided by these ways, informed by what the object is and our understanding of it. The shift of emphasis to appreciation is followed up by Paul Ziff. Ziff’s treatment is informative in that it retains the insights of the disinterestedness position without embracing its flaws. As noted in Chapters 4 and 6, the essence of his account is the notion of an “act of aspection,” the way of attending to an object that in part constitutes its appropriate appreciation. Ziff argues that different acts of aspection are appropriate in the appreciation of, for example, works of art of different kinds, styles, and schools. Thus, knowledge of a work’s history and nature dictates the proper acts of aspection: appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component. Ziff further argues not simply that “anything that can be viewed is a fit object for aesthetic attention,” but that “anything viewed makes demands.” That objects of appreciation make demands means that following the lead of the object rules out the possibility of anything like a general criterion of aesthetic relevance. (Carlson, 1979, p. 19) Knowing the type of artwork directs our attention to specific features relevant to that style. To show this, Carlson compares Venetian and Florentine paintings: > "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates." (Carlson, 1979, p. 19) In appreciating a Venetian painting, one focuses on the play of colors and the harmonious arrangement, while a Florentine painting requires attention to precise lines and clear shapes. Ziff adds: > "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." (Ziff, 1979, p. 19) These examples show how acts of aspection are tailored to the specific qualities of the artwork, guiding how we look at it. Carlson emphasizes the important role of knowledge in aesthetic appreciation, arguing that understanding improves our engagement with an object or environment. He suggests that without knowledge, our experience would lack coherence, becoming merely "a meld of physical sensations" (Carlson, 1979, p. 21). Knowledge provides structure to our aesthetic experience, helping us notice important features and appreciate the object's true nature. He distinguishes between different types of knowledge that inform acts of aspection: - **Common-sense knowledge**: Everyday observations and practical understanding that help us make sense of immediate experiences. - **Scientific knowledge**: Systematic insights that deepen our understanding of the underlying principles and processes of the object or environment. Carlson argues that both types of knowledge are essential for meaningful aesthetic appreciation. For example, knowing the historical context and techniques used in Impressionist painting guides us to focus on light, color, and brushwork when viewing such artworks. This knowledge directs our attention to significant aspects, enriching our aesthetic experience. Moreover, Carlson argues that knowledge does not take away from aesthetic appreciation but is necessary for it. He suggests that even noticing the formal qualities in art depends on some level of understanding, as "the very identity of the formal elements of a work of art depends essentially upon the content of the work" (Carlson, 1979, p. 24). This shows that knowledge and aesthetic appreciation are closely linked. In the context of natural environments, Carlson's model extends this idea, arguing that scientific knowledge enhances our appreciation of nature. Understanding ecological relationships, geological formations, or biological processes allows us to see the environment more richly and appreciate its complexities. ## 2. Process-Based Aesthetic Appreciation Besides appreciating objects, aesthetics also involves appreciating **processes**, especially our own actions. Activities like games or dancing can be appreciated aesthetically from a first-person perspective. In these cases, the aesthetic experience is closely tied to the performer's actions and experiences. When dancing, for example, the dancer may appreciate the fluidity of their movements, the rhythm, and the coordination required. Similarly, in playing games, the player may find aesthetic value in the strategies used, the challenge of problem-solving, or the elegance of gameplay mechanics. This way of appreciation is internal and based on the experience, focusing on the process rather than an external object. C. Thi Nguyen, in his paper **"The Arts of Action"** (Nguyen, 2020), examines the idea of process aesthetics. He defines process aesthetics as "the aesthetics of activity from the perspective of the actor, including experiences of thinking, deciding, moving, and acting upon external objects" (Nguyen, 2020, p. 3). Nguyen argues that many activities we engage in have aesthetic qualities appreciated through our own actions. He notes that while traditional aesthetic theory has focused on appreciating objects, there is a domain of aesthetic experience in process-based activities. For example, **rock climbing** involves appreciating one's own movements and problem-solving strategies as climbers navigate routes. The aesthetic qualities come from the climber's engagement with the activity, not just from the physical environment. Nguyen points out that process arts involve things or systems designed to create activity in participants for the sake of their aesthetic appreciation of that activity. Examples include games, dance forms like contact improvisation, and culinary practices that emphasize the experience of cooking or eating as an aesthetic process. While Carlson's acts of aspection focus on the perception of objects informed by knowledge, Nguyen's process aesthetics emphasizes the aesthetic appreciation of one's own actions within an activity. Both approaches acknowledge the importance of knowledge but apply it differently—Carlson in perceiving external objects, Nguyen in engaging with processes. ## 3. Creative Aspection We propose **creative aspection** as a third way of aesthetic appreciation that combines elements of both object-based and process-based appreciation. In creative aspection, people appreciate a system by creating within it. This involves both perception and creation, where the act of creating within a system allows one to appreciate the system itself. Creative aspection involves working with a system's possibilities and limits to create something new. Through this creative engagement, people come to appreciate the underlying structure, rules, and features of the system. Knowledge plays a key role, as understanding the system informs and guides the creative actions, enhancing the aesthetic appreciation of both the process and the system. In this way, the acts of aspection involve not only noticing important aspects but also actively shaping the experience through creative actions. Knowledge directs both perception and creation, allowing people to engage deeply with the system and appreciate its aesthetic qualities. **Gardening** is a good example of creative aspection. The actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—require sensory engagement with the environment. Gardening involves adjusting our actions to the specific conditions of the garden, informed by our understanding of horticulture, botany, and ecology. Carlson's model emphasizes that appropriate aesthetic appreciation of nature requires us to appreciate it as natural and as an environment, informed by knowledge. He argues that knowledge enhances our aesthetic appreciation by revealing the true character of nature. Scientific knowledge allows us to understand ecological relationships, plant biology, and environmental processes, enriching our engagement with the garden. By creatively engaging with the garden, we not only shape the environment but also come to appreciate the system as a whole. Our understanding helps us make informed decisions, adapt to changing conditions, and develop a harmonious relationship with nature. This aligns with Carlson's view that knowledge is essential for meaningful aesthetic appreciation. Another example of creative aspection is **building with Lego**. When people construct models with Lego bricks, they engage in a creative process that allows them to appreciate the Lego system. Understanding the various types of bricks, their connections, and structural possibilities informs the builder's actions. Both practical knowledge and specific knowledge about the system are important here. Basic principles of balance and symmetry guide construction, while familiarity with Lego's unique components and design conventions allows for more complex creations. This knowledge guides the creative process, enabling builders to explore the system's potential and appreciate its versatility. Building with Lego involves acts of aspection where knowledge informs perception and action. The builder focuses on important aspects of the system—such as the compatibility of pieces, structural integrity, and aesthetic design—guided by their understanding. This informed engagement enhances the aesthetic experience, as the builder appreciates both the process of creation and the resulting model. By creatively engaging with the Lego system, people come to appreciate its underlying structure and possibilities. Knowledge enables them to expand what can be constructed, fostering a deeper appreciation of the system's design and the creativity it inspires. C. Thi Nguyen's account of process aesthetics examines how people aesthetically appreciate their own actions within an activity. He states that in process aesthetics, the focus is on the performer's experience, with aesthetic qualities coming from the activity itself. In contrast, Carlson's acts of aspection focus on how people perceive and engage with objects or environments, informed by knowledge. The aesthetic appreciation arises from understanding the object's nature and paying attention to important features. Creative aspection combines these two ways by involving both perception and action. People engage creatively within a system, guided by knowledge, allowing them to appreciate both their own actions and the system itself. Knowledge informs both the acts of aspection and the creative process, enriching the aesthetic experience. In gardening, for example, the gardener not only appreciates the environment but also actively shapes it. Knowledge guides their actions, allowing them to create and maintain a garden that is aesthetically pleasing and ecologically balanced. Similarly, in Lego building, the builder appreciates the system by engaging creatively within it, with knowledge informing both the design and construction process. Nguyen's concept of process aesthetics aligns with creative aspection in that both involve appreciation emerging from engagement and action. However, creative aspection specifically emphasizes the role of knowledge in guiding creative actions within a system, leading to an appreciation of the system itself. ## Conclusion In addition to object-based and process-based aesthetic appreciation, we have proposed **creative aspection** as a third way. Creative aspection involves appreciating a system by engaging in creative activities within it, with knowledge playing an essential role in informing and guiding our actions. Carlson's insights on the positive role of knowledge in aesthetic appreciation highlight the importance of understanding in all ways of appreciation. He emphasizes that knowledge is key to performing appropriate acts of aspection, allowing us to engage meaningfully with objects and environments. By understanding the nature of what we appreciate—whether it is art, natural environments, or creative systems—we can focus on important features and deepen our aesthetic experiences. Carlson argues that even when one might think knowledge takes away from aesthetic experience, it is actually essential. He suggests that without some level of understanding, "even the sparsest aesthetic appreciation" is not possible (Carlson, 1979, p. 25). Knowledge does not conflict with aesthetic appreciation but is necessary for it to occur. Nguyen's account of process aesthetics broadens our understanding by highlighting the aesthetic appreciation of one's own actions within activities. By comparing process aesthetics to acts of aspection, we see that knowledge informs both perception and engagement, though in different ways. Whether appreciating a painting, performing a dance, tending a garden, or constructing with Lego, our understanding guides our acts of aspection, enriching our aesthetic experiences. Recognizing creative aspection as a distinct way of aesthetic appreciation highlights the connection between knowledge and creativity in our engagement with objects and processes. # Another version # Creative Aspection: A Third Mode of Aesthetic Appreciation ## Introduction In the study of aesthetics, discussions often revolve around two primary modes of appreciation: the appreciation of **objects** and the appreciation of **processes**. The former involves perceiving and valuing art forms such as paintings and music as distinct entities, centring on an object of appreciation that is often perceived through the senses. The latter encompasses the aesthetic appreciation of one's own actions or experiences, such as playing games or dancing, which are experienced firsthand. However, we propose that there exists a **third mode of aesthetic appreciation—creative aspection**—which differs from these established categories. In this mode, individuals appreciate a system by engaging in creative activities within it. This concept can be exemplified through activities like gardening, where one aesthetically appreciates the environment by cultivating it, or building with Lego, where one appreciates the Lego system through creative construction. ## Object-Based Aesthetic Appreciation Object-based appreciation is a traditional focus within aesthetics, involving the perception and valuation of tangible art forms. When observing a painting, a viewer engages with its visual elements—the colours, forms, and composition—that constitute the artwork. The aesthetic experience arises from this perceptual engagement with the object itself. Allen Carlson introduces the concept of **"acts of aspection,"** referring to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. He emphasises that our aesthetic appreciation is guided by these acts, informed by the nature of the object and our understanding of it. Carlson states that **"appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component."** Understanding the type of artwork directs our attention to specific features relevant to that style. To illustrate this, Carlson contrasts Venetian and Florentine paintings. He explains: > **"Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates."** In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes. Ziff further illustrates this by noting: > **"I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved."** These examples demonstrate how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. ### The Role of Knowledge in Acts of Aspection Carlson emphasises the **positive role of knowledge** in aesthetic appreciation, arguing that understanding is essential for meaningful engagement with an object or environment. Without knowledge, our experience would become a **"blooming, buzzing confusion,"** merely **"a meld of physical sensations"** that lacks coherent appreciation. Knowledge provides the necessary structure to our aesthetic experience, enabling us to discern relevant features and appreciate the object's true nature. He distinguishes between different types of knowledge that inform acts of aspection: - **Common-sense knowledge**: Everyday observations and practical understanding that allow us to make sense of our immediate experiences. - **Scientific knowledge**: Systematic and theoretical insights that deepen our understanding of the underlying principles and processes of the object or environment. Carlson argues that both types of knowledge enhance our ability to perform appropriate acts of aspection. In the context of art appreciation, knowledge of art history, artistic techniques, and stylistic conventions directs our attention to relevant aspects of the artwork. For example, understanding the characteristics of Impressionist painting guides us to focus on light, colour, and brushwork when viewing such artworks. Without this knowledge, we might miss significant features or misinterpret what we perceive. Carlson warns that lacking understanding leads to superficial appreciation, where we might focus on irrelevant details or impose inappropriate frameworks on the object. Knowledge enables us to appreciate the object as it truly is, respecting its nature and context. Moreover, Carlson's **natural environmental model** extends this concept to the appreciation of nature. He contends that just as knowledge informs our appreciation of art, it also enriches our engagement with the natural environment. Scientific knowledge—gained from disciplines such as geology, biology, and ecology—reveals the intricacies of nature, allowing us to appreciate it more profoundly. By understanding natural processes and phenomena, we can perform acts of aspection that are responsive to the environment's true character. # Aspection and Gardening Draft (Revised) --- ### 1. Aspection and Appreciation 1. **Allen Carlson introduces the concept of "acts of aspection,"** which refers to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. **He emphasises that our aesthetic appreciation is guided by these acts of aspection, informed by the nature of the object itself and our understanding of it. Carlson states that "appreciation is a set of activities not only responsive to the object but incorporating knowledge of it as an essential component."** For instance, in art appreciation, different styles of art require different perceptual approaches. **As Carlson notes, "In knowing the type we know what and how to appreciate"** (Carlson, Chapter 4, p. 42). This highlights that understanding the type of artwork directs our attention to specific features relevant to that style. 2. **To illustrate this, Carlson contrasts Venetian and Florentine paintings.** He explains, "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates" (Carlson, Chapter 4, p. 42). In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes. Ziff further illustrates this by noting, "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." This example demonstrates how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. 3. **Carlson extends the concept of acts of aspection to the appreciation of natural environments.** He suggests that just as different art styles necessitate specific perceptual approaches, so too do different natural settings require distinct acts of aspection. For example, "we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). **This shows that, similar to different types of artwork requiring specific acts of aspection, different natural environments also necessitate particular methods of engagement. 4. **Understanding plays a crucial role in acts of aspection.** Carlson argues that our knowledge of the object or environment informs how we engage with it aesthetically. He notes that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). In the context of art, understanding the medium, style, and historical background of a work guides our perception and interpretation. Similarly, in natural environments, our knowledge of ecological features and processes shapes our sensory engagement. **Carlson warns that without such understanding, our experience would become a "blooming, buzzing confusion," merely "a meld of physical sensations" that lacks coherent appreciation (Carlson, Chapter 4, p. 43). Therefore, knowledge provides the necessary structure to our aesthetic experience, enabling meaningful engagement rather than sensory overload.** 5. **Carlson distinguishes between different types of knowledge that inform acts of aspection.** Common-sense knowledge encompasses everyday observations and practical understanding. Scientific knowledge involves systematic study and insights into natural processes. Artistic knowledge pertains to awareness of artistic techniques and historical developments. **He states, "These forms of knowledge collectively enhance our ability to perform appropriate acts of aspection, deepening our aesthetic appreciation by informing us what to focus on and how to engage with the object or environment" (Carlson, Chapter 4, p. 44).** As Carlson notes, "In knowing the type we know what and how to appreciate," and these forms of knowledge guide us in our perceptual engagement. %% the above should also mention that different acts can be done in the same environment, and this can be related to skill level %% --- ### 2. Gardening and Creative Aspection 1. **In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection.** **These acts are a particular type of aspection, which we might call acts of creative aspection, in that they involve the appreciation of something by using that something to create something else.** **In this section, we will suggest that gardening can be thought of as consisting of different acts of aspection.** 2. **The physical actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—are analogous to acts of aspection because they necessitate a perceptual and sensory engagement with the environment.** Just as Carlson describes different environments requiring specific acts of aspection, gardening involves adapting our actions to the particular conditions of the garden. For instance, tending to a vegetable garden demands attention to soil fertility, moisture levels, and sunlight exposure, whereas cultivating a flower garden might focus on colour combinations, bloom timings, and fragrance. Similarly, different types of gardens necessitate distinct gardening actions informed by our understanding of the plants and environmental conditions, paralleling the need for specific acts of aspection in different environments. These activities require us to observe and respond to the unique characteristics of our gardening environment. 3. **Moreover, gardening involves specific acts of aspection that connect appreciation and action.** Just as in art and natural environments where our knowledge guides our perceptual engagement, in gardening, our understanding of horticulture and ecology informs how we attend to the garden. We perform acts of aspection by focusing on relevant aspects of the garden—such as plant health, soil conditions, and ecological interactions—and this informed attention enhances our aesthetic appreciation. **In this way, appreciation and aspection are intimately connected in gardening, as our actions are guided by both sensory engagement and knowledgeable understanding.** 4. **Knowledge plays a significant role in shaping our gardening actions and the acts of aspection we perform.** Understanding horticulture, botany, and ecology informs our decisions and enhances our engagement. For example, knowing the specific nutrient requirements of certain plants guides how we fertilise the soil, and understanding pest life cycles influences our approach to pest management. This knowledge informs our acts of aspection in gardening, allowing us to focus on relevant aspects of the garden environment and to engage with it effectively. This knowledge allows us to appreciate the complexities of the garden ecosystem and to interact with it more effectively. Carlson's view that "in knowing the type we know what and how to appreciate" applies here, as our understanding directs our focus and enriches our aesthetic experience. 5. **A key difference between gardening and Carlson's examples is that gardening is a creative act of aspection that leads to the creation or alteration of the appreciated object.** While Carlson's acts of aspection in natural environments involve appreciating without necessarily changing the environment, gardening inherently involves modifying the landscape. By planting new species, pruning existing plants, or designing garden layouts, we actively shape the environment. Unlike imposing art-specific appreciation methods onto nature, gardening involves a partnership with nature, emphasizing adaptation and response over control, which resonates with Carlson's caution against inappropriate assimilation. This creative engagement adds a layer of appreciation, as we not only perceive but also contribute to the beauty of the garden. 6. **Gardening can be framed as an art form that allows for simultaneous creation and appreciation.** Unlike painting or writing, where the act of creation is separate from the act of appreciation, gardening blends the two processes. As we cultivate the garden, we are both creators and observers, experiencing the evolving aesthetic qualities firsthand. Moreover, gardening does not involve creation ex nihilo; instead, we collaborate with nature's existing materials and processes. This partnership with nature emphasises the autonomous qualities of the environment, requiring us to adapt and respond rather than exert complete control. This aligns with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. In this way, gardening follows the lead of the natural environment, adhering to Carlson's principle of object-oriented appreciation, where our actions are guided by the nature of the object itself. # Another version of section 1 and 2 # Aspection and Gardening Draft **Section I: Carlson's Concept of Acts of Aspection** 1. Allen Carlson introduces the concept of **"acts of aspection,"** which refers to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. **He emphasises that our aesthetic appreciation is guided by these acts of aspection, which are informed by the nature of the object itself.** For instance, in art appreciation, different styles of art require different perceptual approaches. Carlson states, **"A different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence"** (Carlson, Chapter 4, p. 42). **This highlights that understanding the type of artwork directs our attention to specific features relevant to that style.** 2. **To illustrate this, Carlson contrasts Venetian and Florentine paintings.** He explains, **"Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates"** (Carlson, Chapter 4, p. 42). **In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes.** This example demonstrates how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. 3. Carlson extends the concept of acts of aspection to the appreciation of natural environments. **He suggests that just as different art styles necessitate specific perceptual approaches, so too do different natural settings require distinct acts of aspection.** For example, **"we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine"** (Carlson, Chapter 4, p. 50). **This comparison highlights that the environment itself dictates the appropriate method of engagement, focusing our senses on features pertinent to that setting.** 4. **Understanding plays a crucial role in acts of aspection.** Carlson argues that our knowledge of the object or environment informs how we engage with it aesthetically. **He notes that "in knowing the type we know what and how to appreciate"** (Carlson, Chapter 4, p. 42). **In the context of art, understanding the medium, style, and historical background of a work guides our perception and interpretation. Similarly, in natural environments, our knowledge of ecological features and processes shapes our sensory engagement.** Without such understanding, we may miss significant aspects or misinterpret what we perceive. 5. **Carlson distinguishes between different types of knowledge that inform acts of aspection.** **Common-sense knowledge** encompasses everyday observations and practical understanding. **Scientific knowledge** involves systematic study and insights into natural processes. **Artistic knowledge** pertains to awareness of artistic techniques and historical developments. **These forms of knowledge collectively enhance our ability to perform appropriate acts of aspection, deepening our aesthetic appreciation by informing us what to focus on and how to engage with the object or environment.** --- # Section II: Gardening as an Act of Creative Aspection 6. In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection. Unlike the types of aspection we've just looked at, these acts are what we might call **acts of creative aspection**, in that they involve the appreciation of something by using that something to create something else. **Gardening requires us to engage directly with the natural environment, responding to its inherent qualities through active participation.** 7. **The physical actions involved in gardening—such as planting, pruning, weeding, and soil cultivation—are analogous to acts of aspection because they necessitate a perceptual and sensory engagement with the environment.** Just as Carlson describes different environments requiring specific acts of aspection, gardening involves adapting our actions to the particular conditions of the garden. **For instance, tending to a vegetable garden demands attention to soil fertility, moisture levels, and sunlight exposure, whereas cultivating a flower garden might focus on colour combinations, bloom timings, and fragrance.** These activities require us to observe and respond to the unique characteristics of our gardening environment. 8. **Gardening also involves rich sensory feedback that parallels Carlson's environmental aspection examples.** When gardening, we **feel the texture and moisture of the soil, notice the growth patterns of plants, and observe the interplay of light and shade.** We might **listen to the rustling of leaves or the buzzing of pollinators**, and **smell the earthy aroma of freshly turned soil or the scent of blossoms.** These sensory experiences are integral to the gardening process, just as they are in Carlson's examples of surveying a prairie or examining a forest floor. **Our actions are guided by these sensory inputs, enabling us to perform acts of aspection that are responsive to the environment.** 9. **Knowledge plays a significant role in shaping our gardening actions and the acts of aspection we perform.** Understanding horticulture, botany, and ecology informs our decisions and enhances our engagement. **For example, knowing the specific nutrient requirements of certain plants guides how we fertilise the soil, and understanding pest life cycles influences our approach to pest management.** This knowledge allows us to appreciate the complexities of the garden ecosystem and to interact with it more effectively. **Carlson's view that "in knowing the type we know what and how to appreciate" applies here, as our understanding directs our focus and enriches our aesthetic experience.** 10. **A key difference between gardening and Carlson's examples is that gardening is a creative act of aspection that leads to the creation or alteration of the appreciated object.** While Carlson's acts of aspection in natural environments involve appreciating without necessarily changing the environment, gardening inherently involves modifying the landscape. **By planting new species, pruning existing plants, or designing garden layouts, we actively shape the environment.** This creative engagement adds a layer of appreciation, as we not only perceive but also contribute to the beauty of the garden. 11. **Gardening can be framed as an art form that allows for simultaneous creation and appreciation.** Unlike painting or writing, where the act of creation is separate from the act of appreciation, gardening blends the two processes. **As we cultivate the garden, we are both creators and observers, experiencing the evolving aesthetic qualities firsthand.** Moreover, gardening does not involve creation ex nihilo; instead, we collaborate with nature's existing materials and processes. **This partnership with nature emphasises the autonomous qualities of the environment, requiring us to adapt and respond rather than exert complete control.** This aligns with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. # New Draft of Section 1 and 2 ## Aspection and Gardening Draft 1. Allen Carlson, in his natural environmental model, argues that appropriate appreciation of the natural environment is analogous to art appreciation and necessitates specific methods of engagement guided by understanding. He states that "the question of what to aesthetically appreciate in the natural environment is to be answered in a way analogous to the similar question about art. The difference is that in the case of the natural environment the relevant knowledge is the common-sense/scientific knowledge that we have discovered about the environment in question" (Carlson, Chapter 4, p. 49-50). This suggests that understanding the characteristics and context of the environment informs both the selection of significant features to appreciate and the appropriate methods of engagement. 2. Central to Carlson's theory is the concept of "acts of aspection," which are the particular ways individuals engage with and perceive objects or environments based on their knowledge of their nature and context. He illustrates this by noting that "a different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence. Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates" (Carlson, Chapter 4, p. 42). Knowledge of artistic traditions and styles directs the observer's perceptual approach, enhancing the aesthetic experience by focusing attention on aspects that are significant within that context. 3. In the realm of natural environments, Carlson applies this idea by explaining that different environments necessitate different acts of aspection, guided by common-sense and scientific knowledge. He notes, "Consider different natural environments. It seems that we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). The observer's understanding of the environment's features informs the appropriate method of engagement, allowing for a nuanced appreciation of its aesthetic qualities. 4. Carlson argues that knowledge serves as the foundation for determining the appropriate foci of aesthetic significance and setting the boundaries of appreciation. In art, this includes understanding the medium, style, and historical context of a work, which guides the viewer's perception and interpretation. Similarly, in natural environments, scientific knowledge about ecosystems, species, and geological formations informs what aspects are significant and how they contribute to the overall aesthetic experience. Without such knowledge, the observer may overlook critical features or misinterpret the environment, resulting in a reduced appreciation. 5. Furthermore, Carlson distinguishes between different types of knowledge—common-sense knowledge, which encompasses everyday observations and practical understanding; scientific knowledge, which involves systematic study and theoretical insights into natural processes; and artistic knowledge, which pertains to awareness of artistic techniques, conventions, and historical developments. These forms of knowledge collectively enable individuals to perform appropriate acts of aspection by informing them about what to focus on and how to engage with the object or environment. ## Section II: Gardening as an Act of Creative Aspection 6. In this section, we shall argue that the actions involved in gardening can be thought of as particular types of acts of aspection. Unlike the types of aspection we've just looked at, these acts are what we might call acts of creative aspection, in that they involve the appreciation of something by using that something to create something else. Gardening involves direct, informed engagement with the natural environment, making it a pertinent example of an act of aspection within Carlson's framework. Unlike artistic activities such as painting or writing, which often begin with a blank canvas or page, gardening requires working with existing natural elements and processes. The gardener works with living organisms and ecological systems, using knowledge to guide their actions and respond to the autonomy of nature. This interaction raises the question of whether gardening can be considered an act of aspection and how it aligns with Carlson's emphasis on knowledge-guided appreciation. 7. The types of knowledge employed in gardening include practical, common-sense understanding and scientific insights. Practical knowledge encompasses familiarity with soil conditions, climate patterns, and basic plant care—information often acquired through experience and observation. Scientific knowledge involves understanding botanical principles, ecological relationships, and environmental factors that affect plant growth. This knowledge informs the gardener's decisions about what to plant, how to cultivate it, and how to manage the garden over time. The gardener's engagement with the garden is thus shaped by this knowledge, directing their attention to specific aspects of the natural world. 8. Gardening can be considered an act of creative aspection because the gardener's knowledge guides their engagement with the environment, shaping both their actions and their perceptual experience. By cultivating plants, pruning, and sowing seeds, the gardener focuses on particular features of the natural world, such as the growth patterns of plants, soil conditions, and ecological interactions. Through planting, pruning, and observing growth, the gardener focuses on particular features of the natural world, such as the development of plant structures, the interplay of species, or the effects of environmental changes. These focal points are determined by the gardener's understanding of horticultural principles and ecological dynamics. The gardener's acts of aspection are thus informed by knowledge and tailored to the specific context of their garden. 9. Moreover, gardening differs from other creative acts because it involves interaction with an autonomous system—nature—that has its own processes and unpredictability. The gardener cannot fully control the outcomes but must adapt to factors such as weather variations, pest infestations, and the inherent growth patterns of plants. This hands-on engagement parallels Carlson's examples of surveying a prairie landscape or examining the forest floor. Just as an observer in a prairie might feel the wind and note the subtle contours of the land, the gardener assesses the texture and moisture of the soil, senses the ambient temperature, and observes the interplay of light and shade in their garden. This dynamic requires the gardener to perform acts of aspection that are responsive and adaptable, aligning with Carlson's view that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). The gardener's appreciation of the garden emerges from this informed and responsive engagement with the natural environment. 10. Gardening involves a rich sensory engagement: feeling the dampness and density of the soil, noticing the texture of leaves and stems, smelling the fragrance of flowers and earth, and listening to the sounds of insects and birds attracted to the garden. These sensory experiences are enhanced by the gardener's understanding of plant biology and ecology, which informs their perception and appreciation of the natural processes at work. The gardener's technical skills are developed through a combination of practical experience and theoretical knowledge. This expertise allows them to influence the growth and aesthetics of the garden while also deepening their appreciation of the complex interactions within the ecosystem. By engaging with the garden in this knowledgeable and creative way, the gardener enhances their aesthetic experience of the natural environment. 11. Gardening may be a better candidate for an act of aspection than painting or writing because it involves working with existing materials and collaborating with an autonomous system, rather than creating ex nihilo. In painting or writing, the artist exercises significant control over inert materials, shaping them according to their intentions. In contrast, the gardener works with living organisms that grow and change independently, requiring a different kind of engagement. The gardener's knowledge allows them to influence the garden, but they must also appreciate and adapt to the natural processes at play. This collaborative aspect of gardening aligns closely with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. # Older draftAspection and Gardening Draft Allen Carlson, in his natural environmental model, argues that appropriate appreciation of the natural environment is analogous to art appreciation and necessitates specific methods of engagement guided by understanding. Central to his theory is the concept of "acts of aspection," which are the particular ways individuals engage with and perceive objects or environments based on their knowledge of their nature and context. This paper examines the idea that both gardening and the use of generative AI systems, such as Midjourney, can be understood as acts of aspection within Carlson's framework. By exploring how specialised knowledge directs the creation process in both gardening and generative AI art, the argument seeks to demonstrate that creation itself can serve as a means of aesthetic appreciation. The central claim is that engaging with autonomous systems—natural or artificial—through informed creation enhances aesthetic experience by deepening understanding and perception of these systems. # Section I: Carlson's Concept of Acts of Aspection and the Role of Knowledge in Aesthetic Appreciation Allen Carlson proposes that the aesthetic appreciation of nature should be approached in a manner similar to that of art appreciation, where knowledge plays a role in guiding perception and engagement. He asserts that "the question of what to aesthetically appreciate in the natural environment is to be answered in a way analogous to the similar question about art. The difference is that in the case of the natural environment the relevant knowledge is the common-sense/scientific knowledge that we have discovered about the environment in question" (Carlson, Chapter 4, p. 49-50). This perspective suggests that understanding the characteristics and context of the environment informs both the selection of significant features to appreciate and the appropriate methods of engagement. Central to Carlson's theory is the concept of "acts of aspection," which refers to the specific ways individuals engage with and perceive artworks or environments, informed by their knowledge of the subject. He illustrates this by noting that "a different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence. Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours, the linear style predominates" (Carlson, Chapter 4, p. 42). Knowledge of artistic traditions and styles directs the observer's perceptual approach, enhancing the aesthetic experience by focusing attention on aspects that are significant within that context. In the realm of natural environments, Carlson extends this idea by asserting that different environments necessitate different acts of aspection, guided by common-sense and scientific knowledge. He states, "Consider different natural environments. It seems that we must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers. But such an act of aspection has little place in a dense forest environment. Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Carlson, Chapter 4, p. 50). The observer's understanding of the environment's features informs the appropriate method of engagement, allowing for a nuanced appreciation of its aesthetic qualities. Carlson emphasises that knowledge serves as the foundation for determining the appropriate foci of aesthetic significance and setting the boundaries of appreciation. In art, this includes understanding the medium, style, and historical context of a work, which guides the viewer's perception and interpretation. Similarly, in natural environments, scientific knowledge about ecosystems, species, and geological formations informs what aspects are significant and how they contribute to the overall aesthetic experience. Without such knowledge, the observer may overlook critical features or misinterpret the environment, resulting in a diminished appreciation. Furthermore, Carlson distinguishes between different types of knowledge—common-sense, scientific, and artistic—and highlights their roles in shaping aesthetic appreciation. Common-sense knowledge encompasses everyday observations and practical understanding, while scientific knowledge involves systematic study and theoretical insights into natural processes. Artistic knowledge pertains to awareness of artistic techniques, conventions, and historical developments. These forms of knowledge collectively enable individuals to perform appropriate acts of aspection by informing them about what to focus on and how to engage with the object or environment. # Section II: Gardening as an Act of Aspection Gardening involves direct, informed engagement with the natural environment, making it a pertinent example of an act of aspection within Carlson's framework. Unlike artistic activities such as painting or writing, which often begin with a blank canvas or page, gardening requires working with existing natural elements and processes. The gardener collaborates with living organisms and ecological systems, utilising knowledge to guide their actions and respond to the autonomy of nature. This interaction raises the question of whether gardening can be considered an act of aspection and how it aligns with Carlson's emphasis on knowledge-guided appreciation. The types of knowledge employed in gardening include practical, common-sense understanding and scientific insights. Practical knowledge encompasses familiarity with soil conditions, climate patterns, and basic plant care—information often acquired through experience and observation. Scientific knowledge involves understanding botanical principles, ecological relationships, and environmental factors that affect plant growth. This knowledge informs the gardener's decisions about what to plant, how to cultivate it, and how to manage the garden over time. The gardener's engagement with the garden is thus shaped by this knowledge, directing their attention to specific aspects of the natural world. Gardening can be considered an act of aspection because the gardener's knowledge guides their engagement with the environment, shaping both their actions and their perceptual experience. Through planting, pruning, and observing growth, the gardener focuses on particular features of the natural world, such as the development of plant structures, the interplay of species, or the effects of environmental changes. These focal points are determined by the gardener's understanding of horticultural principles and ecological dynamics. The gardener's acts of aspection are thus informed by knowledge and tailored to the specific context of their garden. Moreover, gardening differs from other creative acts because it involves interaction with an autonomous system—nature—that has its own processes and unpredictability. The gardener cannot fully control the outcomes but must adapt to factors such as weather variations, pest infestations, and the inherent growth patterns of plants. This dynamic requires the gardener to perform acts of aspection that are responsive and adaptable, aligning with Carlson's view that "in knowing the type we know what and how to appreciate" (Carlson, Chapter 4, p. 42). The gardener's appreciation of the garden emerges from this informed and responsive engagement with the natural environment. Gardening may be a better candidate for an act of aspection than painting or writing because it involves working with existing materials and collaborating with an autonomous system, rather than creating ex nihilo. In painting or writing, the artist exercises significant control over inert materials, shaping them according to their intentions. In contrast, the gardener works with living organisms that grow and change independently, requiring a different kind of engagement. The gardener's knowledge allows them to influence the garden, but they must also appreciate and adapt to the natural processes at play. This collaborative aspect of gardening aligns closely with Carlson's emphasis on knowledge-guided appreciation and the performance of acts of aspection. # Section III: Generative AI Art as an Act of Aspection The use of generative AI systems, such as Midjourney, presents a parallel to gardening in the context of acts of aspection. Users interact with these AI systems to create art by inputting prompts and adjusting parameters, but the outputs are generated through complex algorithms that operate autonomously. The user's engagement with the AI system is guided by both technical knowledge and artistic understanding, which shapes their approach and influences the outcomes. This raises the question of whether creating art with generative AI can be considered an act of aspection within Carlson's framework. Technical knowledge includes understanding how the AI interprets language, processes data, and generates images. Users need to be familiar with concepts such as algorithmic behaviour, the structure of latent spaces, and the limitations of the system. Artistic knowledge involves awareness of visual aesthetics, art history, and stylistic conventions, informing the user's goals and preferences in the creation process. This combination of knowledge directs the user's engagement with the AI system, determining how they formulate prompts, interpret outputs, and refine their inputs. Creating art with generative AI can be considered an act of aspection because the user's knowledge guides their interaction with the AI system, shaping both the creative process and their perceptual experience. The user focuses on specific aspects of the AI's capabilities, exploring the creative potential of the system through experimentation and adaptation. This engagement is informed by their understanding of the technical and artistic dimensions of the process, allowing them to perform acts of aspection that are tailored to the context of generative AI art. Like gardening, the use of generative AI involves collaboration with an autonomous system that possesses its own processes and unpredictability. The user cannot fully control the outputs but can influence them through informed engagement. This dynamic aligns with Carlson's emphasis on knowledge-guided acts of aspection, where understanding the nature of the system informs the method of engagement and enhances aesthetic appreciation. The user's appreciation of the AI-generated art extends beyond the final artefact to include an appreciation of the system's complexity and the creative process itself. Furthermore, the practice of creating art with generative AI shares similarities with gardening in that both involve working with existing structures and systems, rather than creating entirely new ones. In both cases, the practitioner utilises their knowledge to influence outcomes within the constraints of the system, whether it is the natural processes of a garden or the algorithms of an AI. This suggests that the concept of acts of aspection can be extended to include creation in artificial contexts, provided that the engagement is guided by relevant knowledge and involves interaction with an autonomous system.