The provocation for this dissertation is a brief contention: aging is not synonymous with disease. This contention is a corrective reaction to the pervasive sensibility that aging is a disease, and which therefore casts the character of time’s passing as a process of destruction. The upshot of this corrosive sensibility is that we are not aging well. Guided both by the belief that we can reconstruct the meaning of time’s passing and an ameliorative sensibility to heal human suffering, the dissertation offers an alternative, more fruitful understanding of aging in which the character of time changes from a process of destruction into one of creative individual genesis. This is how we should experience time as time passes. Living in this way is an achievement: It is the activity of ferreting out the best possible ways in which to live so that life is deep and robust with concatenated meaning. This philosophical diagnosis of aging is situated within two philosophical traditions—first, existentialism and, second and primarily, the pragmatism of classical American philosophers. The deceptively simple insights from existentialism at work in the dissertation are this: that we are ontologically free to choose our own persons and that our freedom resides in the ever-present possible. The next philosophical move that is made is the pragmatic turn: that, with a sense that there is always something better, we attend to how it is that we press into our possibilities by listening to and heeding experience so that we adapt and grow as individuals.

My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.