Aesthetics of Landscape

B 454 G5 opy 1)OWN THE GARDEN PATH (3y Dorothy Qiles SB 454-.G 5 Down the Qarden Path PRACTICAL DIRECTIONS for FLOWER and VEGETABLE GARDENING is one of a series of service books issued by McCalL'S for its readers. The purpose of the booklets is to help the homemaker to arrange and simplify her daily life, enabling her to find time and strength for those interests which lie outside the narrow circle of household cares. Gardening is one such interest, too often thrust aside for want of time. But when America shall have become a land of little gardens as well as of great ones, when the flower-garden on the farm, along the village street, in the suburbs, is the rule and not the exception we shall find a new spirit abroad and a loveliness which will do much to bring beauty to dwell with us. €?.

The natural world has long held aesthetic attraction, but environmental aesthetics is only now emerging as a discipline in its own right, with distinctive concepts, issues, and theories. In the last two decades, scholars have begun in earnest to develop the field from scattered beginnings that predate the current environmental movement. For environmental aesthetics does not stand apart from other kinds of research. It draws from philosophy, anthropology, psychology, literary theory and criticism, cultural geography, architecture, and environmental design, as well as from the arts. It is also related to philosophy, in particular, for ontology, ethics, and the theory of art. Moreover, environmental aesthetics has implications as well for governmental policy and social practice. Like environment itself, the field of environmental aesthetics extends broadly and on many levels. This article will explore this field in several directions: historical, conceptual, experiential, and practical.

This paper takes into consideration the distinction between mental and real related to the late prehistoric landscapes, considering that he idea of landscape is modern. Starting
from Rilke’s way of thinking and going through Simmel’s and Ritter’s, it is demonstrated that more than between mental and real the distinction is between objective and subjective. In the aesthetic experience of the landscape as relational and “trajective” – according to Berque’s terminology – experience stands the equilibrium point between nature – which science and technology tend to objectivate as distinct and separate otherness – and the subject born to the modern way of thinking – which in the wide space of the landscape tries its naturalness and lives itself as integral being, made up of carnality, sense and sensibility. From such thoughts some questioning rose
about the significance of the reconstruction of ancient landscapes and about hypothesis on their “reality”.

Course description: Aesthetics is the branch of philosophy that studies the nature of the beautiful. This course explores the aesthetics of the natural and built environments, including landscapes, places, and buildings. A major emphasis is contrasting philosophical approaches, including semiotic, Marxist-structural, post-structural, feminist, and phenomenological perspectives. The course is conducted as a seminar and includes group discussion on readings. Students read from photocopied articles and chapters available as PDFs at K-State Canvas On-Line. In relation to national architectural accreditation standards, the seminar involves the following objectives and performance criteria.

In the spring of 2015, a series of shanshui landscapes by cartoon artist Feng Zikai decorated official China Dream posters in Shanghai, and could since then be encountered in the streets and subway stations of all major cities. While the dissemination of national values and active citizen participation in the government’s environmental modernization program is clearly the major trajectory, this rapprochement towards a formerly prosecuted artist concomitantly illustrates the current reorientation towards local traditions and cultural continuity in China’s state ideology and propaganda work. At the same time, the 2014/15 Shanghai arts scene contributed a number of avant-garde landscape art works that pronounced their creators’ concern about the environmental crisis. It will be argued that there is a subliminal dialogue between Xi
Jinping’s project of landscaping the China Dream and the artists’ selective reclamation of shanshui aesthetics in their ecocritical approaches. Whereas the national propaganda machine strives to appease opposition against rampant industrial pollution and heritage demolition, the cultural sphere responds by taking the government’s tampering with traditional ethico-aesthetic principles at its word.

Shanshui (mountains and waters) has been an important form of artistic expression in Chinese art. Since the introduction of photography in the early 20th century, it has undergone several phrases of changes. From the works of photographic artists Lang Jingshan, Yao Lu and Yang Yongliang, this article explores how shanshui aesthetics has been re-appropriated from classical ink-and-water paintings to modern photography over the past century. Throughout the process, we will examine what has been created and lost in shanshui’s reinventions. It is argued that modern and contemporary shanshui, being re-appropriated in the form of photo collage/ composite photography, structures and shapes our perceptions through adopting multiple-point and trans-scalar perspectives. In the process, it has made some of the ideological ruptures visible, pushing shanshui to become more socially and politically reflexive in China’s times of transitions and crises.
Unlike literati painters in the ancient times who deliberately avoided politics and instead immersed themselves in creating nature paintings as a form of escapism, Lang Jingshan’s composite photography subtly and intricately reflects the political ruptures experienced in China in the mid twentieth century. Entering the 21st century, the emerging Anthropocene discourse is quickly reshaping our perceptions and the way art represents human-nature relationships. Contemporary artists like Yao Lu and Yang Yongliang create photographic shanshui collages that represent the excessively urbanized environments and observe the environmentally challenged social reality from various perspectives and scales. From the political ruptures we see in Lang Jingshan’s works since the 1950s, to the ecological ruptures in the Anthropocene epoch as reflected in Yao Lu and Yang Yongliang’s works, shanshui evolves under the camera lens and continues to be redefined according to ideologies of the time.

山水是中國藝術中一個舉足輕重的概念。自二十世紀初攝影技術引入中國後，山水經歷了幾個階段的演變。本文將透過藝術家郎靜山、姚璐和楊泳樑三人的攝影作品，探討山水美學在過去一世紀如何從傳統水墨畫被挪用到現代攝影之上。我們將探討山水被再創造的得與失。現當代山水是如何運用拼湊攝影/集綿攝影的技術去營造散點透視法和跨維度視界？同時，它們又如何讓我們更清楚從山水看到意識形態上的斷裂，從而反映中國當今社會和政治的轉變和困境。
有別於刻意歸隱和避世的古代文人畫家筆下去政治化的山水，郎靜山的集錦攝影暗示了他所處之世的政治斷裂和動盪。踏入二十一世紀，人類世話語的出現不但改變了人們對生態環境的感知，也改變了藝術呈現人與自然關係的方式。姚璐和楊泳梁所創作的山水集錦攝影反應當今社會過度城市化，亦透過不同的角度和維度直觀社會現實中遭受的生態環境衝擊。從上世紀五六十年代中國的政治分裂，到當今人類世衍生的生態裂縫，我們看到山水在攝影藝術家鏡頭下不斷演化，並受着不同的意識形態影響而被再三定義。

The ecosystem services concept is increasingly gaining momentum in land-use policies and landscape planning. Yet, cultural ecosystem services often lack proper assessments. With this study, we use novel methodological approaches to map the cultural ecosystem service landscape aesthetics for its enhanced consideration in land-use policies. Our study uses expert-based participatory mapping and crowd-sourced (social media) photo data to examine the spatial distribution of landscape aesthetics in the Province of Barcelona, Catalonia. We distinguish the capacity and flow of landscape aesthetics. Landscape aesthetics capacity was assessed through spatial multi-criteria evaluation, consisting of a viewshed analysis and an expert-based selection and weighting of landscape features. Landscape aesthetics flow, i.e., people's actual appreciation of landscape aesthetics, was assessed by analysing a sample of 13,460 geolocated photographs from the social media platform Flickr. Our results uncover a substantial mismatch between landscape aesthetics capacity and flow. While landscape aesthetics capacity is widely distributed across the case study area, landscape aesthetics flow is (with few exceptions) mostly concentrated in urban and periurban areas. The main insights for land-use policies derived from our results are twofold. On one hand, landscape aesthetics flow seems less dependent on 'pristine nature' than experts and planners assume, while the complex integration of green and grey landscape features plays a critical role. On the other hand, urban and periurban landscapes as key landscape aesthetics providers should receive additional attention in land-use policies.

Das Thema Landschaft hat um 1900 Konjunktur. Aber gilt dies auch für die zeitgenössische Literatur? Agnes Hoffmann rekonstruiert am Beispiel des erzählerischen Werks von Henry James und Hugo von Hofmannsthal seine Relevanz für die literarische Moderne. Im Gegensatz zur verbreiteten Diagnose einer ›Abkehr‹ von Natur in der Erzählliteratur um 1900 zeigt die Studie, wie bei James und von Hofmannsthal im Gegenteil traditionsreiche Modelle der Landschaftsästhetik, namentlich die pittoreske Landschaft und die romantische Stimmungslandschaft, aufgegriffen und vor dem Hintergrund ideengeschichtlicher Umbrüche der Jahrhundertwende für eine Standortbestimmung des modernen Menschen und der Kunst fruchtbar gemacht werden. Die Quellenstudie wird begleitet von Seitenblicken auf die visuelle Kultur der Zeit sowie Konzeptionen von Landschaft in ästhetischer Theorie, Kulturanthropologie und Phänomenologie im Untersuchungszeitraum. Erkennbar werden auf diese Weise vielfältige interdisziplinäre Verknüpfungen des literarischen Landschaftsdenkens mit benachbarten Diskursen.

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Around 1900, landscape experienced a boom in a variety of cultural discourses. But what part did landscape play in contemporary literature? In this study, Agnes Hoffmann reconstructs its relevance for literary modernism using the narrative works of Henry James and Hugo von Hofmannsthal as examples. She shows how literature around 1900 adopted models of landscape aesthetics that are rich in tradition, and enabled a definition and analysis of the modern human being and art to be pinpointed and conducted. As afterimages of picturesque and romantically sublime nature, they became central poetological and epistemological ideas in the period of upheaval at the turn of the century. This source study also looks at conceptions of landscape in the theory and practice of aesthetics, cultural anthropology and phenomenology in the period examined. In doing so, it reveals how, to date, diverse interdisciplinary connections between how landscape is conceived interdiscursively in literature and related fields.

Explanations for what makes one scene preferred over another-formalistic, cultural and ecological-continue to be generated by philosophers, psychologists and landscape architects. This is needed for planning in the countryside and the protection of natural scenery, yet agreement still eludes us. This book is not a polemic in favour of any particular theory; instead it critiques the many theories seen over the last half-century. It informs readers of the main lines of argument so that they can make up their own minds. The first part of the book, on postwar aesthetics, examines ideas about the unconscious, holism, overarching 'metanarratives', and the search for objectivity. The second part describes the consequences on the 'cultural turn' in that period, giving rise to new theories taking the human as reference. Cultural geography, cultural landscapes, changes in methods of assessment and some new ideas on landscape design are set in this context. Meanwhile ecocentrism proposed a very different approach. The final part looks into the philosophical input, expanding upon 'environmental aesthetics'. It concludes with a more down-to-earth analysis of the 'satisfactions' from immediate formal qualities, the sublime, meanings, and beauty. The balanced, didactic approach taken will make this a standard text for all those in teaching and in landscape practice.

In this paper, I examine the theoretical aspects of worldbuilding in Murasaki's and Tolkien's imagined worlds and accentuate the role of aesthetic landscape creation through which spatio-temporal layers are negotiated. As a starting point, I refer to Thomas Ryba's Husserl, Fantasy and Possible Worlds (1990), where he evaluates the believability of secondary worlds via Husserlian phenomenology. To shed light on Ryba's statement that authors must be "adept at describing the qualities of characters and the world in which they live" (232) through the lens of engagement, I contend that critically acclaimed imagined worlds such as Heian Japan in The Tale of Genji (c.1000 A.D.) and Middle-earth in The Lord of the Rings (1954-1955) demonstrate two fundamental qualities: the physical environments possess aesthetic qualities and the emotional experience of the place is integrated into the fabric of worldbuilding, generating an aura of believability.

This article evaluates an experiment using architect Christopher Alexander's pattern language to identify the sense of place of an existing environment--19th-century American andscape painter Frederic Church's Hudson River estate, Olana, which has been called a landscape and architectural work of art.In turn, the Olana pattern language is used to offer design and exhibit recommendations for a visitor center at Olana. This article presents the Olana pattern language and examines one pattern--home on high--in detail.Last, the experiment is used as a context for discussing the strengths and weaknesses of pattern language as a means to understand and to program for existing places and landscapes.

The question of aesthetics has become significant to the task of engaging more-than-humanness and of decentring humans. We put forward the contention thatfor many in landscape architecture, responding to this task probably involves an appeal to some sort of object-oriented ontology or other brand of speculative realism. In this piece we argue that Gilles Deleuze and Félix Guattari’s notion of assemblage, and Deleuze’s aesthetic technique of expression are of significant value for this task and also deserve attention.

This paper addresses a potentially major shift in environmental and landscape aesthetics, which reassesses the traditional view on landscape in light of the idea of global environment. Landscaping is thus rethought as a mode of creatively being on Earth. For this purpose, the paper begins by providing a definition of Earth as a completely semiotized and therefore "plastic" space which is continuously reshaped by traces, semantic processes and human practices. Earth-shaping (or "terraforming") practices are then investigated as gestures of poetic overwriting, capable of inhabiting interconnected non-equilibrium landscapes. The paper concludes by examining the case-study of DOM-, an artistic collective that performs ways of dwelling in damaged territories and exploited environments.

RESUMEN El trazado de una nueva carretera irrumpe como un elemento ajeno al territorio por donde discurre. Pero durante el siglo XIX la concepción de estas obras y su adaptabilidad al medio posibilitaban una fácil integración con el mismo. Incluso en ocasiones, como en el caso que nos ocupa, la carretera introdujo unos valores positivos que repercutieron en una mejora de su entorno. Se estudian estas relaciones en el caso concreto de la carretera de tercer orden de Alzira a Favara (trozo Alzira-Corbera), cuya construcción impulsó la transformación del territorio y la formación de un destacado conjunto de huertos de naranjos burgueses que coinciden en el tiempo con el proceso de expansión de este cultivo comercial. Estas circunstancias han propiciado que se haya convertido en uno de los principales itinerarios para el acercamiento a este tipo de paisaje de reconocidas cualidades estéticas y culturales. Palabras clave: Paisaje cultural; estética del paisaje; carreteras; historia de las obras públicas; patrimonio cultural. ABSTRACT New road planning breaks into the territory where it runs through as an alien element. But during the nineteenth century the conception of these works and their adaptability to the environment made possible an easy integration with it. Even sometimes, like in this case, the road brought positive values that led to an improvement in its environment. These relationships are studied in the case of the third-tier road from Alzira to Favara (section Alzira-Corbera), whose construction boosted the transformation of the territory and the formation of an important set of bourgeois orange trees orchards that coincide in time with the expansion process of this business crop. These circumstances have helped it to become one of the main routes to approach this type of landscape with recognised aesthetic and cultural qualities.

La scoperta del paesaggio negli scatti di Gabriele Basilico, come palesano le analisi contenute in Architetture, città, visioni. Riflessioni sulla fotografia, è inevitabilmente anche un “dare senso al paesaggio”. Proprio da questo “dar senso al paesaggio” ha inizio la mia riflessione, un lavoro che si colloca all'interno di un progetto più ampio, letto nelle prospettive aperte dall'estetica, cui fa appello, spesso in maniera implicita, lo stesso fotografo. In questo quadro è da annotare senz'altro il fatto che proprio partendo dalla scoperta del paesaggio, il maestro della fotografia italiana inaugura un nuovo rapporto con lo sguardo, che rimanda a un sentire contemplativo. È l'avvento dello "sguardo lento" di Basilico, che inaugura, in seno alla sua produzione, un nuovo modo di sentire lo spazio paesistico, ove la dimensione del “sentire”, che è un sentire quasi mistico, assume un ruolo di primo piano. Una centralità che emergerà nei contenuti della mia relazione.

Japan's rice terrace landscapes are not only used for food production but also appreciated as a place of high biocultural value. This paper pursues the question as to how far esthetic and spiritual values influence the motivation to participate in collective agricultural actions aiming at the conservation of traditional land use systems, the respective cultural (= traditional rural) landscapes and their biocultural diversity. Our results show that in the Ownership System of O ˉ yamasenmaida (Chiba Prefecture, Japan) landscape beauty is the main motivator for the mainly urban volunteers (the 'tenants') to participate in activities of the local Preservation Association, as well as for visitors who merely come to enjoy the scenery of the rice terraces. The active tenants, however, differ from the 'passive' visitors in their ecological interest and emotional attachment to the area. Interestingly, there is also a difference regarding the belief in nature spirits. A higher percentage of people who can imagine that such spirits are always present have been found among the tenants than among the visitors. Even more significant in this respect was the difference between female tenants and female visitors. To what extent spirituality is the cause for or an effect of involvement in nature conservation activities cannot be concluded from this survey. Future studies should therefore take a closer look at the connection between spirituality/religiosity and engagement in nature conservation activities. In Western countries (mainly in Central Europe or North America), nature conservation works on a more 'scientific' level, mobilizing engagement through scientific evidence on, for example, losses of species or biodiversity. Addressing the motivations of the volunteers on an emotional, esthetic or social level could be a promising way forward.

In this article we compare two traditional aesthetic landscape assessment models, the psychophysical model and the psychological model. Our aim is to determine how close both theoretical frameworks are and to what extent they produce similar results, both thematically and spatially. We conduct the psychophysical model using a mapping procedure based on the use of geographic information systems, and the psychological one through a public participation geographic information system, and compare both using spatial analysis techniques. The results indicate that the two models produce divergent results, although both tend to coincide in locating positive ratings. The psychological model generates more and better ratings. Also, a correlation is revealed between the places visited by the users and the places with the best assessment. The main reason for the divergence between the two models is their different rationale. Neither model must be understood as a replacement for the other, but rather as a complement to each other, because together they generate information that cannot be provided separately.

The following study, whose field of research is aesthetics, aims to analyze the Sardinian Rebirth Landscapes. Throughout this paper, we'll use this expression to describe the landscapes which derived from the crisis of the industrial sector in Sardinia. Their study will be exclusively performed in an analytical manner through the use of critical thinking, as is proper in the philosophical method. The end result is a reflection which uses categories and interpretative tools typical of the field of aesthetics, which is my sole field of competence. The essay stems from considerations inspired by a photograph. This photograph presented a chance to deeply scrutinize our reality as to bring forth its evident contradictions, and to consider how these very contradictions have undertaken the features of this recession. A recession which has claimed its spaces of visibility in what I've named the " Sardinian Rebirth Landscapes ". The second part of paper focuses on the complexities involved in analyzing these landscapes.

İnsan-çevre ilişkisi ve arasındaki etkileşim, özel bir ilgi gerektiren ve incelenmeye değer bir konudur. İnsanların belirli peyzajlara (teorilerin ve hipotezlerin ön gördüğü özelliklere sahip olan mekan düzenlemelerine), farklı, karakteristik, yaygın ve belirgin bazı tepkiler verdiği bilinmektedir. İnsan peyzaj etkileşiminin incelendiği alanlardan biri de estetiktir. Estetik özellikle Batı Avrupa'da, ünlü düşünürler tarafından 18. Yüzyılda ortaya atılmış ve felsefede önemli bir çalışma alanı haline gelmiştir. Bunun yanında çevre estetiği ve peyzaj değerlendirme kapsamında bir çok farklı araştırmacı kültürel ve evrimsel açılardan çeşitli teoriler ortaya koymuştur. Bunların en başında Prospect-Refuge teorisi, savana hipotezi, Bilgi İşleme Teorisi, Duyusal Değerlendirme teorisi, biofili hipotezi, Genius locie ve Topofili teorileri gelmektedir. Bu bağlamda bu çalışmada, estetiğin tanımından yola çıkılarak bir peyzaj estetiği tanımlaması yapılmıştır. Çalışma kapsamında sözü edilen teoriler ve peyzajla olan ilişkileri tanımlanmış ve bu çerçevede şimdiye kadar literatürde bulunan önemli bulgular aktarılmıştır. Çalışma sonucunda evrimsel ve kültürel teorilerin bütünleştirilmesi gerekliliğinin altı çizilmiştir.

At the faculty of Architecture (Technical University Eindhoven), we confronted students with problems of the global city and local culture. The topic of our 'Density and Cosmos, Beijing-Rotterdam' design studio was the public garden and the concept was 'being away' or 'otherworldliness'. The question of urban green is presently discussed among designers, theorists and critics concerned with urban sprawl. We study landscape as a represented 'cosmos' that characterize our civilization. It is significant that 'landscape' is both the geographical reality and its idea, and essential representation being the garden. Gardens still exist, but in post-modernity their physical edges are blurred. In the long history of blurring edges -from baroque infinity to romantic wilderness - Western landscape has become a form of undetermined green, absorbed in metropolitan atmosphere. Our dis-urbanity springs from a state of mind. By bringing the study and the design of the dense cosmology of Chinese gardens into our cities we might deconstruct our diluted, centrifugal, expanding urban landscape.

This paper enquires about the close relation between landscape and social movements. It analyses how movement in its physical and mental perspective affects the relation that a society establishes with its environment. Different types of movement give birth to different types landscape aesthetics. Nomad and state societies (Deleuze and Guattari, 1980) build their landscape culture around the concept of movement. How different is the mental construction of their territories, and the aesthetic relation with their environment?

Landscape's Moods – This article is concerned with the question of how the aesthetic experience of the landscape is important for us. The authors start from J. M. Howarth’s ‘Nature’s Moods’ (1995), that is, from her analysis of the utterances with which we attributed moods or emotional states in general to individual things and processes or to landscapes as whole entities. In the first and the second part of the article, the two authors go through the possible solutions to the paradoxical nature of these claims and revise them. In the third and the fourth part, the authors explain them further on the basis of the phenomenological or phenomenologically oriented inquiries of Edmund Husserl, Jan Patočka, David E. Cooper, and Martin Seel. The chief aim of the article is to identify the particular cognitive values of the qualities to which this type of claim relates and to assess to what extent it is reasonable to call them aesthetic qualities.

The aesthetics of the Sublime and the Picturesque comprised the perceptual baggage with which early nineteenth-century British explorers and travellers combed the globe. As important to their identification of space as measurements of longitude and latitude, these two schemata
governed the ways in which the Canadian Arctic was described and depicted during the British search for a Northwest Passage from 1819 to 1859. During the last ten years of this period, when the majority of mariners travelled and resided in the arctic archipelago, more and more fanciful
representations appeared on the aesthetic map that their writing and painting were charting. These more fanciful mappings opened a wider discrepancy between perception of landscape and environmental reality, which invited disastrous consequences for the searchers, but in the face of the growing realization that Franklin's crews had been consumed  by arctic nature, the need to mask the terror of the realm by invoking modes of describing and depicting European nature became paramount. The adaptation by means of the genial Sublime and the Picturesque of the land, rather than the traveller, if it did not provide what can be considered a realistic picture of the North today, nevertheless fortified British optimism and morale sufficiently to see the search for Franklin through to a successful conclusion.