 After the emergence of environmental aesthetics as a significant area of philosophical research, some initial positions crystallized. In the last part of the last century, these positions developed distinct orientations concerning the aesthetic appreciation of natural environments. At that time, the positions were frequently distinguished as belonging in one or the other of two groups, alternatively labeled cognitive and non-cognitive (Godlovitch 1994, Eaton 1998, Carlson and Berleant 2004), conceptual and non-conceptual (Moore 1999), or narrative and ambient (Foster 1998). The distinction marks a division between those points of view that take knowledge and information to be essential to aesthetic appreciation of environments and those that take some other feature, such as engagement, emotion arousal, or imagination, to be paramount. The distinction thereby gives structure and organization to the diverse points of view represented in the field. Moreover, it is in line with similar distinctions used in aesthetic theory concerning the appreciation of art, music, and literature.