 In spite of the above noted reservations about various cognitivist approaches, in light of the seeming relevance of natural sciences such as geology, biology, and especially ecology to the aesthetic appreciation of nature, scientific cognitivim is sometimes interpreted as “an ecological aesthetic” in the tradition of Aldo Leopold, who linked the beauty of nature to ecological integrity and stability (Callicott 1994 2003, Gobster 1995). However, although it clearly has roots in Leopold’s thought, the explicit idea of ecological aesthetics, or as it is sometimes called, ecoaesthetics, seems to have later origins (Meeker 1872, Koh 1988). Moreover, although the idea has had for some time a place within analytic environmental aesthetics, perhaps best filled by scientific cognitivism, more recently it has also been adopted by some philosophers working in the “continental tradition”. For example, it is claimed that although phenomenological work in “ecological aesthetics” is “still in its infancy”, the work of Husserl, Heidegger, and Merleau-Ponty is applicable to its development. Moreover, it is suggested that the aesthetics of engagement is the first and currently the strongest “comprehensive phenomenological theory of ecological aesthetics” and that it in combination with scientific cognitivism would constitute a stronger ecological aesthetics (Toadvine 2010). There is also other recent research in environmental aesthetics that draws, more or less, on both analytic and continental traditions (Tafalla 2011, Leddy 2012b, Maskit 2014, Paetzold 2014, Seel 2015, Jóhannesdóttir 2016).