 In the wake of Hepburn’s article, the next major developments in the emerging field of environmental aesthetics challenged both the idea that nature appreciation is not aesthetic and the persistence of art-oriented approaches to the aesthetic appreciation of nature. Although these views about the appreciation of nature had found some grounding in analytic aesthetics’ reduction of aesthetics to philosophy of art, as art’s monopoly on philosophical aesthetics began to weaken, they were increasing recognized to be deeply counterintuitive. Concerning the former, many of our fundamental paradigms of aesthetic experience seem to be instances of appreciation of nature, such as our delight in a sunset or in a bird in flight. Moreover, the Western tradition in aesthetics, as well as other traditions, such as the Japanese, has long been committed to doctrines that explicitly contradict the nonaesthetic conception of nature appreciation, such as the conviction that, as one philosopher expressed it, anything that can be viewed can be viewed aesthetically (Ziff 1979). Concerning the art-oriented models, it was argued by some that such approaches do not fully realize serious, appropriate appreciation of nature, but rather distort the true character of natural environments. For example, the landscape model recommends framing and flattening environments into scenery. Moreover, in focusing heavily on artistic qualities, these accounts are thought to neglect much of our normal experience and understanding of nature (Hepburn 1966 1993, Carlson 1979 2000, Berleant 1985 1988 1992, Saito 1998a 1998b). The problem, in short, is that they do not acknowledge the importance of aesthetically appreciating nature, as one aesthetician puts it, “as nature” (Budd 2002).