 Other non-cognitive positions in environmental aesthetics contend that dimensions other than engagement are central to aesthetic experience. What is known as the arousal model holds that we may appreciate nature simply by opening ourselves to it and being emotionally aroused by it. On this view, this less intellectual, more visceral experience of nature constitutes a legitimate way of aesthetically appreciating it that does not require any knowledge gained from science or elsewhere (Carroll 1993). Another alternative similarly argues that neither scientific nor any other kind of knowledge facilitates real, appropriate appreciation of nature, but not because such appreciation need involve only emotional arousal, but rather because nature itself is essentially alien, aloof, distant, and unknowable. This position, which may be called the mystery model, contends that appropriate experience of nature incorporates a sense of being separate from nature and of not belonging to it—a sense of mystery involving a state of appreciative incomprehension (Godlovitch 1994). A fourth non-cognitive approach brings together several features thought to be relevant to nature appreciation. It attempts to balance engagement and the traditional idea of disinterestedness, while giving center stage to imagination. This approach distinguishes a number of different kinds of imagination—associative, metaphorical, exploratory, projective, ampliative, and revelatory. It also responds to concerns that imagination introduces subjectivity by appealing to factors such as guidance by the object of appreciation, the constraining role of disinterestedness, and the notion of “imagining well” (Brady 1998 2003). A related point of view, which stresses the metaphysical dimensions of imagination, might also be placed in the non-cognitive group, although doing so requires making certain assumptions about the cognitive content of metaphysical speculation. According to this account, the imagination interprets nature as revealing metaphysical insights: insights about things such as the meaning of life, the human condition, or our place in the cosmos. Thus, this point of view includes within appropriate aesthetic experience of nature those abstract meditations and ruminations about ultimate reality that our encounters with nature sometimes engender (Hepburn 1996).