The tension of proximity/distance in Wylie’s ‘Landscape’ (2007, p.2) is derived from the opposing contentions of the philosophical and the rational. Of his painting of Mont Saint – Victoire, Cezanne wrote “the landscape thinks itself in me ... and I am its consciousness” (Cited in Wylie, 2007, p. 2). Wylie observed “Cezanne is not a detached spectator – his gaze enters the landscape, is entered by landscape” (Wylie, 2007, p. 3). In contrast, Wylie cites the argument of the historian and literary critic Raymond Williams where “the very idea of landscape implies separation and observation” (Cited in Wylie, 2007, p. 3) the implication being that a landscape presupposes distance.
The contrasting views of the perceptions of landscape are reflected in Wylie’s text by the philosophical and contrary pragmatic analysis of the works. The former arguing that the relationship between observer and landscape is a pure and umbilical one where the two are merged on each other and the counter considerations that landscape should be viewed from a reasonable, detached and logical position. This is, perhaps, analogous, to the more recent debates with respect to scalar analysis in the case for and against scalar concepts in an ever changing World.
The Dictionary of Human Geography defines landscape as “a cardinal term of human geography serving as a central object of investigation, organising principle and interpretive lens for several different generations of researchers” (Gregory et al, 2009, pg. 400). The definition has evolved over time with influential geographers, like Cosgrove defining landscape as a “way of seeing” (Cosgrove, 1984, pg. 1). J.T. Mitchell views landscape “not as an object to be seen or a text to be read but as a process by...
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Harm de Blij and his “The Power of Place: Geography, Destiny, and Globalization’s Rough Landscape” truly describes how geography is displayed in the world today. In particular on of the major themes that he discusses is the idea of globalization. He actually calls these people the “globals.” In the very beginning of his book he describes two different types of peoples: Locals and Globals. The difference between these people is that Locals are the poorer people, not as mobile, and more susceptible to the concept of place. On the other hand the Globals are the fortunate population, and are a small group of people who have experienced globalization firsthand (5). This idea of globalization is a main theme that Blij refers to throughout the book, however he also indirectly references the five themes of cultural geography: culture regions, cultural diffusion, cultural interaction, cultural ecology, and cultural landscapes. Through Blij’s analysis these five themes are revealed in detail and help explain his overall idea of globalization in the world today.
In "A Tale of the Ragged Mountains," it is pretty obvious that the landscape is going to play an important part in the story - we are given the setting right in the title. However, a majority of the story actually takes place in an "Orientalized" locale that has been transposed into the Ragged Mountains. This alone is a great juxtaposition: the title describes what seems to be a run-down, unappealing landscape, while the real action takes place in fantastical setting. But why is the landscape so important if the psychological aspect is what Poe is trying to focus on? Most likely it is because the landscape gives us clues about what is actually happening in the minds of the characters, and hints at things that make the story clearer. For example, Bedloe starts his tale by describing "the thic...
This places the reader in recognisable landscape which is brought to life and to some extent made clearer to us by the use of powerful, though by no means overly literary adjectives. Machado is concerned with presenting a picture of the Spanish landscape which is both recognisable and powerful in evoking the simple joys which it represents. Furthermore, Machado relies on what Arthur Terry describes as an `interplay between reality and meditation' in his description of landscape. The existence of reality in the text is created by the use of geographical terms and the use of real names and places such as SOrai and the Duero, while the meditation is found in...
Is not the landscape, every glimpse of which hath a grandeur, a face of him?
The main driving element in William Morris’s life has been the nature around him and the houses he lived in. The most prominent influence was the Kelmscott Manor. Therefore, I chose to go with Kelmscott Manor’s layout plan that exhibits the “inspirational garden “ that led to most of his design decisions, a map that depicts the pockets in the manor and how Morris was inspired by it. In addition to this, an original drawing of the Kelmscott Manor’s exterior that depicts how the manor amalgamated within the garden. To reinforce this, I picked a watercolor of the Kelmscott Manor and a photo that captivates the various perspectives of the garden in the manor. Moving on to his designs that interprets his love for nature I picked up the very first of his wallpaper design of the trellis that has a very naturalistic touch to it with the vines which seemed to be an extension of the “inspiration garden” on to the paper. Also chose one of the wallpapers he designed during the middle of his lifetime and one of his last designs as well. The underlying concept behind picking those was to outline the consistency in his design concept throughout his life. William Morris was a poet , whose poetry and compositions were also inspired by nature, and to depict his poetry in form of naturalism concept I picked a stance from one of his compositions that talks about forest, flora and fauna which directly ties to his underlying concept. Also the compositions he wrote always had engraved borders which was ...
…Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape be considered as a branch of natural philosophy, of which pictures are but experiments?
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
Artists of the Modernist era responded to the relationship of body and landscape in many different ways. This essay will focus on the works of Georgia O’Keeffe (1887-1986) and Barbara Hepworth (1903-1975) and will explore two works by each artist. A desire of the Modernist artist was the pursuit of pure forms and removal of extraneous detail that would encumber their vision of what the world should, or in fact did look like to them. As Honour and Flemming (2009) propose, the thought of seeking original elucidations to the issues that surrounded the production of paintings and sculpture helped to propel the movement forward.
How to create an environment suitable for human living when resources are limited is a challenging problem for modern society. My strong interest in photography and art has compelled me to become especially observant toward the relationship between human beings and the environment. I have come to realize that the environment we live in has suffered much damage from pollution and lacks competent planning, making it difficult to find beautiful scenery to photograph or sketch. I began to think that I could make use of my artistic gift, concern about, and interest in the environment by entering the field of landscape design and putting my effort into beautifying our surroundings. Therefore, after graduating from high school, I entered the Department of Landscape Architecture at ABC University.
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Wilcock, D. A. (2013). From blank spcaes to flows of life: transforming community engagment in environmental decision-making and its implcations for localsim. Policy Studies 34:4, 455-473.
De, Blij Harm J., and Peter O. Muller. Geography: Realms, Regions, and Concepts. New York: J. Wiley, 1997. 340. Print.
Several authors have based some of their writings on their spirituality. Some of these writings are as intricate as the Bible or as basic as an article in a local newspaper, but the meaning and passion behind them should never be doubted. In Leslie Marmon Silko's "Landscape, History, and the Pueblo Imagination", she expresses how her people have a very different meaning of "landscape". To Silko's people, the popular definition of landscape as being "a portion of territory the eye can comprehend in a single view" makes it seem as though the viewer is on the outside looking in. To them, the term landscape is much more than that. One cannot leave their surroundings, the earth and nature are always around us and we are always interconnected. The ancie...