Of all the questions that an exhibition focussing on landscape should raise, the most ironic yet fitting one of all would surely be: where indeed, to begin? As I wander through the locations that are represented in this exhibition (all of them scapes of some description) I realise that my response varies...in the first instances I gaze, drawn in by the finality of such a thing as a scene with definitive edges; I consider the specificity of each vista. On the third or fourth encounter I begin to glance: my visual experience of these scenes becomes more fleeting and my time in font of them, bound with them, shortens. Of course this is a subjective response, but one which is symptomatic of our western encounter with the natural. Such was the speed that western civilisation moved from the pastoral to the urban as a location for its existence, that the remnants of this great shift (caused in the main by the industrial revolution) are scattered far and wide across our cities and countrysides and lodged within our collective memories. Important also, is the juxtaposition which arose as a result of this shift in relation to vision, in cognizance of the natural and its translation into pictorial forms. This shift can be considered as the aesthetic logic of the gaze (traditional easel painting or tripod mounted cameras ) versus the synthetic philosophy of the glance (snapshot, handheld or abstracted). An obvious example however of the violent clash between the pastoral and urban, is the city park: totemic keepsake of the natural, whose function is in part to preserve our encounter with nature. Gardens and allotments have similar functions for today's psycho-metabolism, allowing us to connect, like the archaeologist, with our collec...
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...ithout ever being able to fully denote it. This is also one way through which the strength of this collection of works is asserted. The simultaneous absence of presence promotes a mystification of its own accord, and it is perhaps this with which we struggle in the face of nature from our human vessels, by simply ‘looking out from within.’
1. Mick O'Kelly's Allegories of Geography, (1987) work excepted.
3. As an example, the Picturesque (comprising of the beautiful and sublime) was a construct whose evolution and recognition was the preserve of the societal elite. A good example of this is the shore of Lough Tay, near Luggala in County Wicklow.
Works Cited
Adrian Franklin Nature and Social Theory, London: Sage, 2002, p.22.Karl Marx, ‘The Economic and Philosophical Manuscripts’ in L. Coletti (ed.) The Early Writings, Harmondsworth, Penguin, 1975, p. 276.
Anna Wieckowska Student ID - M00497093 “Landscape is a social product; particular landscapes tell us something about cultural histories and attitudes” (Wells, 2001, p.1). Critically discuss this idea with reference to the photographic representation of landscapes, focusing either on tourism and travel, or on environmental photography. For this particular essay, I decided to speak about my thoughts on the idea of landscape as a social product from a tourism and travel approach. Firstly, I am going
Race and Representation in the Film Jedda Jedda, Australia’s first colour film, created in 1955 by Charles Chauvel deals with an Aboriginal child adopted by a white grazing family. As she grows up, Jedda is tempted more and more to return to her people. Seduced by the wild Marbuck, she partakes in the film's tragedy, played out against a spectacular landscape. This essay seeks to discuss the representations of the Australian landscape as portrayed in the film Jedda, highlighting the use of filmic
Communication and representation are very important parts of landscape architecture. Without communication to sell a design no project would ever be built. Communication is used to ensure a client that a design exceptional. Representation also plays a large role in public perception of design. The public audience can look at representation to understand a project more thoroughly. Through representation landscape architects have the power to educate the public on the benefits of green spaces and other
Tim Winton’s short story ‘Neighbours’ the representation of people and landscapes leads us to a greater awareness of the complexity of human attitudes and behaviours. This is explored through the idea that changes in one’s receptivity to the landscape can determine their perspective of it and thus influence their behaviour and attitude towards those people in the landscape. The desire for a new landscape is due to the non-receptivity to the old landscape, this is explored in de Botton’s first essay
“Introduction, Landscape: between place and space” in Hirsch, E. (ed.) The Anthropology of Landscape: Perspectives on Place and Space. Oxford : New York: Clarendon Press. Anth411 reading notes and reflections: This chapter explores the idea of landscape in an anthropological construct. Hirsch aims to move away from the western ideals of understanding of landscape, and deconstruct it in an attempt to understand the local interoperation of landscape to prove it is part of a cultural process. Landscape has been
creating a modern and humanist era. Greeks looked to sculptors and statues to illustrate the classical ideals through the various eras and how Ancient Greece developed a world view. Greeks developed a strong belief in classical ideals in how for and representation should be in their culture. The Greeks moulded their world through the influences of art such as paintings, sculptures and temples. Ancient Greece became the precursor of art in the third era, the architects of the Classical age. From the Archaic
Good morning/ afternoon the selection panel of the 2016 film festival. Most Australian films portray the same repetitive representations of what Australia is. Many other Australian films have displayed the typical dangerous, but yet stunning outback scenery of Australia. However no other film has given such a variety and accuracy of the representation of the Australian landscape like Lucky Miles has. This film should be included in the 2016 international Australian film festival. Lucky Miles is an
Landscape Urbanism is best equipped to assist Lyndon’s “multiplicity of cultures seeking at once to find their way in the present and to forge their place in the future” because it positions landscape “as the most relevant meduim for the production and representation of contemporary urbanism.” The interdisciplinary model it uses is one which positions landscape as the generator, rather than backdrop, of urban development. The public landscape infrastructure organizes and shapes urban development
pronounced artists have chosen to represent the relationship between people and landscapes in their chosen medium; considering the ways in which experiences of individuals are as diverse as the composer’s outlook they wish to endeavor. The non-fiction text The Art of Travel by Swiss-British philosopher Alain de Botton involves an approach with an implicit humanistic perspective, suggesting that different types of landscapes have the ability to influence an individual’s outlook on life, from unhappiness
the colors are what sets the mood of the piece itself, inducing emotions from the audience. Generally, hues of red are associated with feelings of anger, love, or danger; in this case, the hues generate a sense of love, perhaps a passion for the landscape in which O'Keeffe was
A muted yellow is chosen for some of the silhouetted bodies as well as a vibrant yellow, which dominates the foreground and middle ground landscape of the painting using broad brush strokes. A cold blue is used for the water and parts of the background. Matisse vision of colors took on its own meaning when he applied them to the canvas . Color representation was no longer used to just to determine objects within the canvas; they were now used to express the emotional feeling in the picture. Kandinsky
portrayals of the landscapes during war. Each poem uses different literary techniques to express their view on the war. Imagery, oxymoron, emotive language, metaphors, personification and similes are used to portray the landscapes of war. Wilfred Owen uses similes, imagery, oxymoron and emotive language in his poems to portray landscape. The oxymoron of “spring offensive” begins the poem by expressing the oncoming content. With this title, the reader can expect that the landscape will be anything
for its intricate detail and varying brushwork, The Forest Dwelling at Juqu succeeds in portraying an energetic vitality within its content, yet loses this spirit in its representation of form. Wang Meng’s intentional portrayal of depth in the cliffs that surround the grotto serve to illustrate the magnanimity of the landscape. Using perspective, the cliff heights recede into the far distance, and ascend with no clear end to the viewer. The twisting contour lines of the cliff grow out from the
Tudor England viewed Ireland with both fascination and revulsion. While the English regarded the Irish landscape as sublimely beautiful, they also saw it as untamed and uncultured and recognized its inherent threat as a launching base for England’s enemies. The land was seen as unchanging – people live and die, but the land continues to be used. This stability was challenged though by the very instability of its people, who were continuously changing – though from the English view, not towards
History of American Landscape Painting 1 The History of American Landscape Painting Hayleigh Weldin California State University, Bakersfield Landscape paintings became of interest to artists as a way to depict nature, a man?s spiritual place in the world, and his relation to God (Pohl, 2012). The paintings of nature became a way for artists to express themselves visually and spiritually while also expanding what people could see, read, and feel (Pohl, 2012). Landscape paintings helped