A non-productivist Marxism departing from the analysis of capitalism’s “dialectic of scarcity” can make a valuable contribution to the field of environmental ethics. On the one hand, the analysis of capitalism’s dialectic of scarcity shows that the ethical yardstick by which capitalism should be measured is immanent in this social system’s dynamic tendencies. On the other hand, this analysis exposes capitalism’s inability to fulfill the potential for an ecologically sustainable society without unnecessary human suffering that capitalism’s technological dynamism generates. This argument can be illustrated by a critical analysis of Bjorn Lomborg’s The Skeptical Environmentalist. An exploration of capitalism’s dialectic of scarcity can bring to light those weaknesses and internal contradictions of antiecological discourses that are likely to escape the attention of non-Marxist ecologists. This analysis shows that to the extent capitalism’s dialectic of scarcity encourages the fragmentation of social justice and environmental movements, a critical analysis of this dialectic can contribute to the formation of the alliance of emancipatory movements that the attainment of a just and ecologically sustainable society presupposes.

Our primal ability to see one thing in terms of another shapes our landscape perception. Although modes of appreciation are tied to personal interests and situations, there are many lines of conflict and incompatibility between these modes. A religious point of view is unacceptable to those without religious beliefs. Background knowledge is similarly required for taking an arts or science-based view of landscape, although this knowledge can be acquired. How to cultivate responses grounded in imagination, emotion, and instinct is less clear, but advocates are eager to spell out notions of virtuous exercise and effective schooling. Carlson’s science-based theory often gets the most attention because he has refined and defended it over many years, but there is a place in aesthetic nature appreciation for the formal or design elements he dismisses as well as for religious, imaginative, emotional, and ambient responses. To date, the normative aspects of these theories have been presented sketchily at best. Working out these details will chart a way for landscape appreciation to become politically correct.

Beginning with Rachel Carson’s small book, The Sense of Wonder, I explore the moral significance of a sense of wonder—the propensity to respond with delight, awe, or yearning to what is beautiful and mysterious in the natural world when it unexpectedly reveals itself. An antidote to the view that the elements of the natural world are commodities to be disdained or destroyed, a sense of wonder leads us to celebrate and honor the more-than-human world, to care for it, to protect its thriving. If this is so, then a sense of wonder may be a virtue, perhaps a keystone virtue in our time of reckless destruction, a source of decency and hope and restraint.

The concept of wilderness found in the black American intellectual tradition poses a provocative alternative to the preservationist concept. For black writers, the wilderness is not radically separate from human society but has an important historical and social dimension. Nor is it merely a feature of the external landscape; there is also a wilderness within, a vital energy that derives from and connects one to the external wilderness. Wilderness is the origin and foundation of culture; preserving it means preserving not merely the physical landscape but our collective memory of it. But black writers also highlight the racial essentialism that infuses both their own and traditional American concepts of the wild, giving us greater insight into why the wilderness celebrated by preservationists can be a problematic value for racial minorities.

In a pluralist and pragmatist view of aesthetic appreciation of nature, nature is validly appreciated through various cultural media including science, technology, mythology, and, in particular, the arts. Those who attack arts-based appreciation mainly think about the arts of the nineteenth century: traditional landscape painting and sculptures on pedestals. When we turn to art since the 1970s, for example, earth art, this picture changes. Allen Carlson’s attack on postmodernist and pluralist models of aesthetic appreciation does not pose significant problems for an arts-based approach, for he makes a major concession to non-scientific culture-based approaches when he allows mythological descriptions. If mythology can be taken into consideration when appreciating the natural environment, then the arts should be as well. The aesthetic object in environmental aesthetics is emergent from, and upon, the interaction of the experiencing subject(s) and the appreciated environment, the limits of which are set by the experiencing subject(s). These limits need not be narrowly science-based.