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Books on the topic 'Barrows landscape'

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Author: Grafiati

Published: 15 June 2024

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1

Argentina) Encuentro Internacional sobre Barroco (9th 2017 Buenos Aires. Naturaleza & paisaje: IX Encuentro Internacional sobre Barroco. La Paz, Bolivia: Fundación Visión Cultural, 2019.

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Chile) Encuentro Internacional sobre Barroco (10th 2019 Valparaíso. Mitos e imaginería: X Encuentro Internacional sobre Barroco. La Paz, Bolivia: Fundación Visión Cultural, 2021.

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3

Louwen, Arjan, and David Fontijn. Death Revisited: The Excavation of Three Bronze Age Barrows and Surrounding Landscape at Apeldoorn-Wieselseweg. Sidestone Press, 2019.

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4

Louwen, Arjan, and David Fontijn. Death Revisited: The Excavation of Three Bronze Age Barrows and Surrounding Landscape at Apeldoorn-Wieselseweg. Sidestone Press, 2019.

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5

Fontijn, David. Beyond barrows: Current research on the structuration and perception of the Prehistoric Landscape through Monuments. Sidestone Press, 2013.

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6

Fontijn, David R., Karsten Wentink, Sasja van der Vaart, and Arjan J. Louwen. Beyond Barrows: Current Research on the Structuration and Perception of the Prehistoric Landscape Through Monuments. Sidestone Press, 2013.

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7

Louwen, Arjan. Death revisited: The excavation of three Bronze Age barrows and surrounding landscape at Apeldoorn-Wieselseweg. Sidestone Press, 2019.

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8

Forman, Richard. Pine Barrens: Ecosystem and Landscape. Elsevier Science & Technology Books, 2012.

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9

Pine Barrens: Ecosystem and landscape. New Brunswick, N.J: Rutgers University Press, 1998.

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10

Forman, Richard T. T. Pine Barrens: Ecosystem and Landscape. Rutgers University Press, 1998.

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11

Peters, Dave. Sand and Fire: Exploring a Rare Pine Barrens Landscape. Wisconsin Historical Society, 2023.

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12

Ancestral Heaths Reconstructing The Barrow Landscape In The Central And Southern Netherlands. Sidestone Press, 2013.

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13

Perkins, Wayne. The Barrow Hill paradox: Burial mound, castle motte or natural landscape feature. the author, 1999.

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14

Monuments On The Horizon The Formation Of The Barrow Landscape Throughout The 3rd And 2nd Millennium Bc. Sidestone Press, 2012.

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15

Barclay, Alistair, and Claire Halpin. Excavations at Barrow Hills, Radley, Oxfordshire: The Neolithic and Bronze Age Monument Complex (Thames Valley Landscapes). Oxford Univ School of Archaeology, 1999.

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16

Fontijn, David. Transformation through destruction: A monumental and extraordinary Early Iron Age Hallstatt C barrow from the ritual landscape of Oss-Zevenbergen. Sidestone Press, 2013.

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17

The limestone barrens project: Rob Canning, Marlene Creates, Orla Kenny, Har-Prakash Khalsa, David Morrish, Liam O'Callaghan, Kris Rosar, Greg Staats, John Steffler, Elizabeth Zetlin. Owen Sound, Ont: Tom Thomson Memorial Art Gallery, 2004.

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18

Chambers, R. A. Excavations at Barrow Hills, Radley, Oxfordshire 1983-5: The Romano British Cemetery and Anglo Saxon Settlement (Thames Valley Landscapes Monograph). Oxford Archaeological Unit, 2007.

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19

O'Keefe, Linda. Hybrid Soundscapes. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450306.

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Hybrid Soundscapes is a multi-component body of outputs investigating acoustic ecology. It is comprised of sound installation, an album, participatory community engagement activities and peer-reviewed publications.The output was the outcome of three years of practice-led research into the impact of renewable energy technology on rural and natural landscapes. O Keeffe investigated four sites where new types of renewable energies have had an impact on natural landscapes: the southern region of Iceland, the Northern Terra Alta region of Spain, Barrow-in-Furness in the UK and Beijing, China. The research also investigated graphic composition as a mode of mapping sensory, social and ecological sonic experiences over time. The research employed different methodologies including retreats in natural landscapes, participatory listening workshops with local communities and documentary research. Hybrid Soundscapes was commissioned by the curator Christine Eyene in 2016 (curator of the 2019 Moroccan Biennale) for a touring exhibition titled Sounds Like Her that would for the first time present established women artists who have expanded the field of sound art. For the exhibition, O Keeffe presented four large printed graphic scores/sound maps and an immersive audio composition for five speakers. The scores comprised photographic images and drawings of the sites in which O Keeffe conducted field research. The audio composition functioned both as a single immersive audio work and a spatialised site-specific performance. Hybrid Soundscapes I–IV was first presented in the exhibition Sounds Like Her at the New Art Exchange, Nottingham, 13 October 2017 – 3 January 2018. Subsequent exhibition presentations included: York Art Gallery, 12 July – 25 August 2019, and Gallery Oldham, 14 December 2019 – 7 March 2020.

20

Newman, Richard S. Love Canal. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780195374834.001.0001.

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In the summer of 1978, residents of Love Canal, a suburban development in Niagara Falls, NY, began protesting against the leaking toxic waste dump in their midst-a sixteen-acre site containing 100,000 barrels of chemical waste that anchored their neighborhood. Initially seeking evacuation, area activists soon found that they were engaged in a far larger battle over the meaning of America's industrial past and its environmental future. The Love Canal protest movement inaugurated the era of grassroots environmentalism, spawning new anti-toxics laws and new models of ecological protest. Historian Richard S. Newman examines the Love Canal crisis through the area's broader landscape, detailing the way this ever-contentious region has been used, altered, and understood from the colonial era to the present day. Newman journeys into colonial land use battles between Native Americans and European settlers, 19th-century utopian city planning, the rise of the American chemical industry in the 20th century, the transformation of environmental activism in the 1970s, and the memory of environmental disasters in our own time. In an era of hydrofracking and renewed concern about nuclear waste disposal, Love Canal remains relevant. It is only by starting at the very beginning of the site's environmental history that we can understand the road to a hazardous waste crisis in the 1970s-and to the global environmental justice movement it sparked.