Almost all philosophical scholars agree that pleasure is a typical aspect of aesthetic experience, though some, such as Carroll (2006) and Adorno (1997), argue it is neither essential nor necessary. While they hold this view, denying the importance of pleasure in aesthetic experience overlooks individual needs and the various purposes it may serve. For Shinrin Yoku, Forest Bathing, or Forest Therapy Guides, and those who find solace in the forest, the experience of pleasure is essential and/or necessary. Even if it cannot always be precisely defined or described, there is an underlying sense of admiration, curiosity, wonder, and creativity that inherently leads to what seems to be a form of pleasure rather than suffering – the felt sense of undefinable. 

The source of this pleasure is not always clear, especially when considering views that art serves no function beyond its own existence – the art for its own sake. It would be utterly naive to think the same of the forest as a living ecosystem and  as a provider for Forest Therapy or Shinrin Yoku experiences – guided or non-guided. Some propose that pleasure in aesthetic experience stems from the positive evaluation of an object or its creator, the joy of engaging our mental faculties, the relief from practical pressures, the acquisition of knowledge, or the connection with others. The claim that pleasure derives from the positive evaluation of an object is particularly popular, suggesting we take pleasure in an object’s intrinsic value, functionality, or the skill of its creator.

In the forest, these sources of pleasure become palpable. The beauty of a towering tree or a delicate flower can evoke a deep sense of admiration for nature’s intrinsic value. Engaging with the forest through sensory activities of our choice, such as feeling the texture of bark, stimulates our mental faculties and seems to bring joy. The tranquility of the forest, when seen  as  a restorative environment, offers a reprieve from daily stresses.  Discovering new aspects of the natural world through Shinrin Yoku practice may also bring a sense of wonder and knowledge or even inspiration by and/or pleasure in the facilitation skills of the guide. 

Pleasure can be understood as a phenomenological feeling with a positive hedonic underlining or as a pro-attitude with positive content. The enjoyment of mental activity, a view championed by Kant (1914), posits that the free play of our mental faculties provides pleasure. This liberation from structured thought may offer a joyful experience to some, whilst others may preferred a more structured engagement. The element of free play and agency is crucial for Shinrin Yoku invitations and in Shinrin Yoku or Forest Therapy sessions. The participants, likewise guides,  have power to liberate themselves from what stands in their way of expressing the self authentically. 

Schopenhauer (1969) argued that aesthetic experience offers a reprieve from the suffering of practical life. Collingwood (1958) suggested that expressing and clarifying emotions through art brings pleasure by transforming and controlling these feelings. Other theories focus on the pleasure of gaining knowledge or understanding, with thinkers like Goodman (1976) emphasizing the joy of discovery. Lastly, some associate pleasure in aesthetic experience with connecting to others, whether through the artist’s inner life or shared reactions to the art.

As it can be noticed, aesthetic experience theories from a philosophical perspective have much to offer when attempting to grasp a sense of immersion in the forest or other contexts nature provides. These theories provide a framework for understanding the process when we engage deeply with nature. 

Definitions

Phenomenological Feeling: This term relates to the subjective, first-person experience of an individual. It’s about how an experience feels from the inside, encompassing all the sensory, emotional, and cognitive aspects of that experience.

Positive Hedonic Underlining: “Hedonic” pertains to pleasure and pain. A positive hedonic tone means that the experience is pleasurable or enjoyable. It’s the aspect of the feeling that makes it pleasant rather than neutral or unpleasant.

So, a phenomenological feeling with a positive hedonic tone is an internal, subjective experience that is distinctly pleasant. This could be the feeling of joy, contentment, or satisfaction that one might experience when engaging in an aesthetically pleasing activity, such as creating a mandala from nature’s gifts (a beautiful piece of art).

Further Reading

Carroll, Noël, 2006, “Aesthetic experience: A question of content,” in Kieran (ed.) 2006, pp. 69–97.

Components of aesthetic experience: aesthetic fascination, aesthetic appraisal, and aesthetic emotion

Adorno, Theodor, 1997, Aesthetic Theory, Gretel Adorno and Rolf Tiedemann (eds.), Robert Hullot-Kentor (trans.), Minneapolis: University of Minnesota Press.

Kant, Immanuel, 1914, Critique of Judgment, J. H. Bernard, D.D., D.C.L. (trans.), Macmilian and Co., Limited

Schopenhauer, Arthur, 1969, The World as Will and Representation, E.F.J. Payne (trans.), Indian Hills, CO: Falcon’s Wing Press.