Notion Of Landscape Research Articles

Desdobrando paisagens ao som da 'concertina'

The notion of landscape is built by the experience of the senses that articulates thought and feeling to constitute awareness. This study describes the concertina-like book Pensar paisagem as a landscape education tool that encourages sensitivity to landscape awareness. The first part of this study discusses the experience of the senses from a theoretical and philosophical point of view, whereas its second describes the concertina-like book as a playful and creative way to unfold landscape. This study seeks to capture and express inseparable feelings and thoughts in the structure of apprehending the world as a landscape, showing that they act in the constitution of an awareness that can give rise to landscape citizenship.

Linkages between the concept of nature-based solutions and the notion of landscape.

As the effects of Nature-based solutions (NBS) application are usually much broader than onlythe area under the project implementation, it is necessary to capture the impact on these actions of landscape as well as the influence of landscape type on the NBS effectiveness.The main aim of this study was to detect linkages between the operational of NBS and the landscape dimention,based on a systematic literaturereview. The results showed the existence of seven linkages: (1, 2) 'input' and 'output' resulting from the consideration of landscape as a scale of NBS implementation; (3, 4) 'stimulator' and 'inspiration' based on the contribution of landscape-based management to the implementation of NBS; (5) 'co-beneficiary' since the implementation of NBS affects aesthetic dimensions of landscape; (6) 'tool' aslandscape-based indicators are usedto assess the impacts of NBS; and (7) 'foundation' as health-supporting landscapes may be considered as a type of NBS action.

Francis Ponge’s cosmophanic landscape

Cosmophany is a concept from the mesological theory of landscape developed by Augustin Berque, which deals with the ways in which a landscape reality appears to a subject. Our study, « Landscape cosmophany in Ponge's poetry », focuses on the different trajections (perceptions) of landscape in Ponge's poetry. In a corpus of four poetic texts, 'Le lézard', 'Bords de mer', 'La Seine' and 'Carnet du bois de pins', we will attempt to elucidate the threefold constitution of landscape and Ponge's lyrical renewal through two modern approaches to landscape, Augustin Berque's mesology and Michel Collot's landscape-thinking, This article sets out to show how the notion of landscape is accompanied by a new categorisation of living. Keywords: Francis Ponge, cosmophany, landscape, mesology, lyricism.

Stagnating the Life: Modern Wisdom in Fernando Pessoa's The Book of Disquiet

This article aims to draw attention to the existence of a common ground on which modern artist and modern thinker come close to each other in articulating a uniquely modern urgency, which gives shape to a new understanding of wisdom. Departing from the role often assigned to the poets/prose writers as the “stagnators of life” in the ages of turmoil, the article examines The Book of Disquiet, owned by Bernardo Soares, the semi-heteronym of Portuguese writer and poet Fernando Pessoa, as a collection of fragments that stage crucial moments of stagnation. After underlining how modernist literature has often been viewed as a separate realm from the devastating socio-political developments of the twentieth century, it exemplifies some experimenting gestures of the so-called “wise” artist through an analysis of The Book of Disquiet. The analysis focuses on the co-existence of poetry and prose, the exteriorization of interior experience via the notion of landscape, and the idea that life can best be observed from a distance after it is fully stopped. Drawing on literary readings of Walter Benjamin, Maurice Blanchot, and Paul de Man, the article aims to show that The Book of Disquiet, like the works of such poet/prose writers as Rilke and Kafka, illustrates how the destiny of modern artist, unlike that of modern world, was to break with the teleological concerns of daily life in favor of capturing life in its reality.

Between professional objectivity and Simmel’s moods: a pragmatist-aesthetic proposal for landscape character

This paper provides, in the first part, a critical examination of the standard framing of the subjectivism vs objectivism dualism in the concept and practice of ‘landscape character’ (LC) and, in the second part, some philosophical suggestions for its improvement. After a brief overview of the emergence of the LC notion, partly in response to the modernist-aestheticist view of landscape, and of the mentioned dualism that this notion harbours, I will discuss some main problems associated with the currently dominant ‘objectivist strain’ in the framing of the dualism. Such problems have a common root, namely a narrow unexamined view of experience and the aesthetic dimension. In the constructive part, I will propose to reframe the relationship between subjectivity and objectivity on a pragmatist-aesthetic basis, drawing on Simmel’s notion of landscape ‘mood’. Finally, I will outline some implications and advantages of the suggested alternative over both the objectivist strain in the current discourse and the modernist-aestheticist paradigm.

The Landscape Painting of the Escuela de la Sabana: An Entrance to Pictorial Modernity in Colombian Art or the Naturalization of a Cultural Landscape?

This text questions two traditional theses concerning the landscape painting of the Escuela de la Sabana; first, that the school constituted the onset of pictorial modernity in Colombia, and second, that the school endeavored to represent natural landscape. Instead, it is argued that this school of painting operated through the naturalization of a landscape that had been structurally reconfigured since the second half of the 19th century. The text unfolds in three parts: in the first, the two theses mentioned are reviewed; in the second, the notions of landscape and landscape painting are analyzed from the perspectives of cultural geography, historical geography, and visual culture; and the third part analyzes the ‘non-aesthetic’ cultural meanings of this painting.

From the Editor

From the Editor Lisa Rowe Fraustino (bio) In this, my first introduction to my first volume as editor of the annual, I want to begin by thanking all of our contributors, from whom I have learned more than I thought my brain could absorb. I have learned not only from the seven authors whose accepted essays appear in these pages but also from those whose work is still in the revise and resubmit (R & R) process, and even those whose work was not a fit for us—or not yet. Equally, I learned from our expert readers, whose generous attention to the work of anonymous colleagues makes every essay better, makes the journal better, makes the editor better, makes children's literature scholarship overall better, and indirectly betters children's literature itself. With no organizing theme for this open volume, I decided to order the essays chronologically based on the text sets under discussion, beginning with a classic of the White canon, Peter and Wendy. In "'[A] commotion in the firmament': The Thermodynamics of Neverland," Clayton Carlyle Tarr looks at J. M. Barrie's 1911 novelization of his 1904 play as an exemplar of how children's literature incorporated Victorian science. Peter Pan and Tinker Bell harness energy in ways that defy the physical laws of thermodynamics, a subject that Barrie studied at the University of Edinburgh. Just as the character Peter Pan never ages or dies, the thermodynamic power of storytelling allows Peter Pan to live on across generations. At the same time as Barrie staged children's play in White, patriarchal, colonialist fantasies, H.G. Wells represented nationalist masculinity through play in two little-known novels for children, Floor Games (1911) and Little Wars (1913). Chloe Flower's essay, "The Exemplary Game: Going to War with H.G. Wells's Toy Soldiers," situates these fictional war-gaming texts in British culture and the figure of the toy soldier in material history. She finds that, like the reproducible hollow toy, "the boy is a delegate for an infinitely expanding number of other, expendable male selves proceeding outward to empire and forward into England's triumphalist future." Just as children's literature has contributed to the reproduction of traditional gender roles across generations, so too has it contributed to cultural change. In "Little Miss Muffet Must Go! Mommies at Work [End Page ix] and the Radical Roots of Non-Sexist Children's Literature," Julia L. Mickenberg explores the historical impact of an early feminist picture book and discusses why it was then—and still is, to some extent—difficult to find picture book mothers working outside of the home. Eve Merriam's 1961 text was given new life in 1970 when rediscovered by the Women's Liberation movement and featured in Elizabeth Fisher's "The Second Sex, Junior Division," which Mickenberg parallels with the importance of Nancy Larrick's "The All-White World of Children's Literature." With the next essay, we skip ahead to the poststructural era, when both young adult literature and the theoretical study of it have gained influence and respect. Barbara Tannert-Smith combines topoanalysis and psychoanalysis in "'The Garden Frightens Me': Trauma, Recovery, and the Environmental Uncanny in Meg Rosoff's How I Live Now." By mapping "the traumatic route of intertextual modeling" in what Amitav Ghosh has called "the environmental uncanny," Tannert-Smith deconstructs romantic notions of landscape and human-nature entanglements in Rosoff's 2004 critically acclaimed novel about young people surviving on their own in a future World War III. J. K. Rowling's series of seven Harry Potter books came out between 1997 and 2007, and Kathryn Strong Hansen discusses the author's 2008 postscript to her Wizarding World in the next essay, "On the Margins of Harry's World: Paratext and The Tales of Beedle the Bard." Reading Rowling's footnotes placed alongside Dumbledore's in the text, Hansen argues that paratexts of the Tales undermine Rowling's expressed intent in fighting bigotry by marginalizing readers as Muggles themselves, distancing rather than fostering the connection that had made them feel included throughout the series. In recent decades, scholars have paid increasing attention to comics and graphic novels. Kai Mikkonen continues...

Signs at work

Abstract We use a geographically informed notion of landscape and Williams’ (1977) framework structure of feeling to examine ‘closed’, masking, and social distancing signs on businesses in the Washington, DC central-city neighborhood of Adams Morgan. We argue that the semantic content and discursive structure of the Covid signs, together with the in-the-moment feeling of walking down empty streets while a little-understood virus had just started raging, promoted a reconceptualization of labor relations tied to solidarity, public health, and communal responsibility, and making visible the working conditions of low-wage workers. This new structure of feeling opens up a space – however narrow – of political possibility.

THE VALUE OF DEEP LEARNING FOR LANDSCAPE REPRESENTATION COMPARISON BETWEEN SEGMENTATION IMAGES MAPS AND GIS

Abstract. Landscape refers to the qualities of a place, the result of a structural, territorial and environmental component, and the attribution of meanings, which is certainly the fundamental issue of the interpretative process. Percepire etymologically derives from "per", which means "by means of, through", and "capere", which translates as "to take", "to collect" (information, sensory data), "to learn". Since images are derived from the territory, it is of first interest to propose a comparison between representations derived from automated processes on photographs and the synthetic data interpreting the territory inherent in the plans developed with GIS in order to obtain a more precise perceptual analysis. The emergence of new tools for the processing and reproduction of data offers new opportunities for the knowledge and representation of the landscape, in architectural and urban contexts, and the integrative support that these processes can bring to the representation of the qualities of a place have to be reinterpreted in a Spatial Information Dataset in order to make synthetic and intelligible information. Identifying specific themes by questioning these data through criteria and placing at the centre the capacity of the digital environment in its mathematisation to compare data, transforming them into information, in an automated process is aimed at the exploitation of Big Data and the full replicability of the procedure. In this way, it is possible to enter into the analysis of the quality of space, of that notion of landscape concieved as "that part of the territory perceived by the population that lives it".

GIAHS as an Instrument to Articulate the Landscape and Territorialized Agrifood Systems—The Example of La Axarquía (Malaga Province, Spain)

The theoretical literature makes a connection between the notions of landscape and territorialised agrifood systems, but these connections are rarely specified or explained. Their consideration in development proposals requires the relationship between the two and their magnitude to be made explicit. This article enquires into this and explores its programmatic forecasts from both the theoretical and empirical perspectives. An epistemological and regulatory review points to the FAO Globally Important Agriculture Heritage System (GIAHS) programme as the instrument that articulates the logic of landscape and territorialised agrifood in marginal rural areas. The empirical part of the study focuses on the dried grape (raisin) agrifood system in Axarquía (Malaga province, Spain) GIAHS since 2018. Territorial recognition and semi-structured interviews have enabled a deep study of the praxis of these connections. Axarquía is seen to be an excellent laboratory of the synergies between territorialised agrifood system synergies and landscapes. GIAHS is substantiated as a virtual instrument that can contribute to agriculture-based territorial development. It acts as a stimulus to development and combines forces through territorial governance processes. It highlights the value of agriculture as a cornerstone of development, examines agricultural functionalities in detail, and gives meaning to agricultural landscapes.

The antimicrobial landscape as outlined by Danish dairy farmers

Limiting antimicrobial use (AMU) in dairy farming is an important step toward reducing antimicrobial resistance (AMR). Therefore, it is relevant to understand dairy farmers' choices and the potential for change in relation to AMU, even in countries with low usage. Furthermore, there is an increasing recognition of the need to focus on both the individual farmer's behavior as well as the context surrounding and influencing the farmer's decisions in relation to AMU if the goal is further reduction. To date, no studies have taken into account both the individual farmer and their context in both conventional and organic dairy farms under Danish conditions. For this study, 15 Danish dairy farmers were interviewed using qualitative semi-structured research interviews, and the notion of landscape was used to describe the context of their AMU. We found that AMR was considered a distant element of the farmers' antimicrobial landscape. Daily challenges such as acutely diseased animals and poor housing conditions seemed more urgent and overruled the threat of AMR. We also found that interviewed farmers had differing opinions on farm management, partly shaped by changes in legislation and ways of farming over time. At one end of the scale, some organic farmers had rethought the current way of farming; keeping robust animals in a natural setting was expected to prevent disease. They were positive about legislation, and the numerous restrictions on AMU over time were thought to contribute to ensuring quality for consumers. At the other end of the scale, some conventional farmers perceived disease as something that should be controlled through treatment, and the currently eased legislation and intensification of farming have legitimatized AMU for this purpose, leading to an expectation among these farmers of certain rights to handle medicines themselves. These contrasting views might lead to inspiration and competition in terms of reducing AMU, as the farmers appeared to value the opinions of other farmers, and they were found to continuously assess each other. Through such ongoing assessment, pioneers of AMU reduction-whether organic or conventional-might motivate their colleagues to change their AMU. Future research should address the potential of experience- and attitude-sharing among farmers as motivation to reduce AMU.

Landscape of Possibility

Abstract This essay is driven by the question of how Candra, the writer and director of Dewi pulang (2017), is able to sustain his cinematic practice, despite the controversial nature of his films. Considering the notion of landscape of possibility, this essay traces processes that precede and go beyond the production of a particular film, but which are nevertheless constitutive of its becoming. These entanglements are explored through concrete stories in dialogical engagement with film practitioners in Indonesia. Adding these to the conversation of what constitutes a film conceptually and analytically, the desired gesture of this essay is less a representation or documentation of Candra’s practice or Indonesian film communities but rather a provocation to approaches in film studies that operate on binary assumptions of landscape as an external backdrop (of text and context, film and maker, state and film production). I will argue that the evolution of film communities in Indonesia challenges commonly held assumptions about the role of the state in ‘independent’ film, and the linear ‘assembling logic’ from ‘grassroots’ to ‘mainstream’.

Divergent disaster events? The politics of post-disaster memory on the urban margin

Rather than one-time events, disasters are processual phenomena driven by multiple drivers of disaster risk and that leave a myriad of traces on affected areas. Remembering such traces can help local communities to deal with disaster impacts. Memorialisation is not neutral, however, as memory by definition selects certain symbols and excludes others, rendering this a contentious process. By focusing on the politics of disaster memory, I show how these processes reveal divergent interpretations of ‘ongoing’ disasters. Based on ethnographic methods, I analyse post-disaster memorialisation in a marginal area of the foothills of Santiago, Chile, where on 3 May 1993, a rain-induced landslide destroyed 300 houses and left almost 4000 victims including 26 people killed. Since then, a particular landscape of memory consisting of symbols, memorials and practices has emerged. Drawing on a notion of landscape as an ‘arena’, I describe how this memorialisation perpetuates the 1993 disaster and produces contested interpretations of it. Besides contrasting the views of state and non-state actors, as well as long-time residents and newcomers, I expand on a more explicit confrontation between two local groups. While both parties agree that the disaster is not a past ‘event’ but a processual phenomenon, they differ in the content of their interpretations: for some, memory is anchored in the past and their responsibility is to be united in commemoration; for others, remembrance practices can support calls for justice regarding ongoing disaster vulnerability. As such, disaster memory has different political implications: symbols and practices can prescribe ways of either maintaining the status quo or addressing the root causes of disasters. I show that post-disaster landscapes of memory are not only multiple and diverse, but also open and remade through practices and discourses that can directly contest disaster risk creation.

Space and Place. A Morphological Perspective

The morphological account of landscape aims to overcome the contrast between an objectivist/scientific account of space and the more qualitative/subjective account of place. It does so by actualizing the notion of landscape, which endows a materiality often overlooked in contemporary spatial theories. In this paper, I will discuss what has been called the ‘space-place conundrum’ by referring mostly to the human geography contemporary debate on space and place. In the following, I will retrieve Carl Sauer’s morphological conception of landscape as an alternative framework aimed at rephrasing both the concepts of space and place. Landscape must be freed from the cage of the aesthetic gaze so that it can be understood as a lived and dynamic complex of interacting forms that encompass the embodied subject. In the end, I will outline the main characteristics of a morphological conception of landscape, paving the way for further inquiries.

On Valery Podoroga’s Analytical Anthropology of the Landscape

In present article the concept of landscape is considered to be one of the key concepts of analytical anthropology which is Valeria Podoroga’s complex investigation program of art, literature and philosophy. Notion of landscape defines analytical strategy chosen by the Russian philosopher for study on west European philosophy of the XIX–XX centuries. The landscape is considered as a complex spatial notion which possesses geographic, sensual, cultural, historical, and topological dimensions. Emphasis is placed on the topological-communicative function of the landscape, which provides a form of expression for philosophical ideas. This function is described by examples from the texts of Kierkegaard, Nietzsche and Heidegger which are the objects of Podoroga’s analysis. In conclusion landscape is considered as a universal “neutral space” which makes possible to transmit a unique poetic-philosophical experience to the reader and discussed abilities using analytical anthropology for the study of new material.

Conceptualisations of landscape differ across European languages.

Policies aimed at sustainable landscape management recognise the importance of multiple cultural viewpoints, but the notion of landscape itself is implicitly assumed to be homogeneous across speech communities. We tested this assumption by collecting data about the concept of “landscape” from speakers of seven languages of European origin. Speakers were asked to freely list exemplars to “landscape” (a concrete concept for which the underlying conceptual structure is unclear), “animals” (a concrete and discrete concept) and “body parts” (a concrete concept characterised by segmentation). We found, across languages, participants considered listing landscape terms the hardest task, listed fewest exemplars, had the least number of shared exemplars, and had fewer common co-occurrence pairs (i.e., pairs of exemplars listed adjacently). We also found important differences between languages in the types of exemplars that were cognitively salient and, most importantly, in how the exemplars are connected to each other in semantic networks. Overall, this shows that “landscape” is more weakly structured than other domains, with high variability both within and between languages. This diversity suggests that for sustainable landscape policies to be effective, they need to be better tailored to local conceptualisations.

Musealized landscapes and petrified landscapes

The text aims to reflect upon the notion of landscape in the context of exhibitions; more precisely, it aims to do so in relation to the musealization of archaeological heritage and presentation of archaeology. The last 30 years of museum transformations, referred to as “the age of museums,” and the digital shift in museology have had a significant impact on building archaeological narratives in museums and beyond. Immersive and telematic landscapes, currently being constructed in museums, allow for sensorial engagement, broadened perceptive possibilities, and more intense interest in archaeology with the use of complex and convincing visions of the past. Hence, the musealized landscape presented in this paper is to go beyond the traditional criticism of multimedia in museums; it is an attempt to appreciate the cognitive opportunities provided by modern archaeological exhibitions.

Landscape education in planning experiences: The case of the regional landscape plan of Friuli Venezia Giulia (Italy)

ABSTRACT The notion of landscape as value that can provoke a re-thinking of democratic processes are increasingly characterising planning and educational experiences at the local/community scale. In this context, the process of the Regional Landscape Plan of Friuli Venezia Giulia (FVG-RLP) is an opportunity for grassroots educational activities on landscape and for the self-recognition of communities as pro-active actors in the political arena. The paper explores the contribution of educational actions to the understanding and development of democratic approaches to landscape, questioning the meaning of ‘democratic landscape’. The research shows the importance of education in gaining awareness of the landscape as a common good and underpins landscape democracy as the result of collaborative and inclusive processes, which go beyond normative participatory clichés.

La explosión verde neogranadina y Montebello paisaje y jardín en La otra raya del tigre

In this paper I took as an object of study the novel entitled La otra raya del tigre (1975) by Colombian writer Pedro Gomez Valderrama. This work, classified in the genre of Travel Literature, it is built up with the imaginaries from the Colonial Period, the characteristic narratives of travel journals from 18th and 19th centuries, classic literary topos, demystifying and naturalization of the wild (mountains, sea, caverns) promoted by The Enlightenment. In order to analyze the configuration of the places, I focused on two specific settings: Montebello and New Granada landscape. I used the notions of landscape and garden to study those settings, respectively. Analyzing these settings allows to comprehend the specific conditions of imaginary places and, besides, to notice the geographic dimension of the representation of a territory on literature (Geopoetis). Finally, I consider Montebello such as a locus amoenus. In the other hand, New Granada landscape is related to locus horridus. In La otra raya del tigre the aesthetics construction of landscape depends on three key procceses: contemplation, imagination and explorer’s journey.

On the Relationship of Landscape and Painting

This paper intends to sketch out how the understanding of landscape has changed today, using painting as an interpretative tool. As this paper argues, the contemporary sense of landscape is considered through historical, political, social, cultural, and aesthetic facets. Differentiating from the Kantian notion of landscape as an aesthetic category in the domain of visual arts, it has achieved multiple layers of meaning, rather than only referring to gardens and agricultural areas. The extent of the landscape began to change in the 19th century due to industrialization, exploration of new territories, and the development of technology, botany, and geography. Since the 20th century, the concept has also included immaterial constituents in addition to technological, cultural, and social developments. It has become a social construct as an expression of ideas, memories, imagination, and feelings. Pointing to an active and flowing system, rather than a static and visual one, today, the landscape is grasped as an interdisciplinary and collaborative production. It defies distinct urban zonings and proposes ambiguity, vagueness, and contradiction, as it expands the issue through the concepts of anti-landscape and non-landscape. Anti-landscape indicates marginalized and unsuccessfully man-modified lands, whereas non-landscape describes unused and neglected lands. This paper traces the shift of landscape as a dynamic force in the recent paintings of the contemporary Turkish artist, Yıldız Arun. Her works in landscape, anti-landscape, and non-landscape reflect immateriality and immanence as a dynamic and interactive system. In her paintings, the landscape emerges as an affective field of an internal order with a capacity to transmit affects and sensations in Deleuzian sense. It becomes a force field, which flows into a multiplicity of intensities, revealed by layers of colors, lines, and brush strokes. The juxtaposition of spirituality and materiality turns her canvases into generative fields of multiple encounters affected by each stroke. As this paper shows, the landscape does not point to a pre-defined, extrinsic, static, and visual area, but a force field in flux, with a capacity to produce potentials, reciprocal relations, and immanent affects. Article received: April 17, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Original scholarly paper