Academic literature on the topic 'Landscape photography – Australia – History'
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Journal articles on the topic "Landscape photography – Australia – History"
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Neath, Jessica. "Visions of Nature: How Landscape Photography Shaped Settler Colonialism AND Colonization, Wilderness and Spaces Between: Nineteenth Century Landscape Painting in Australia and the United States." Australian Historical Studies 54, no. 1 (January 2, 2023): 179–81. http://dx.doi.org/10.1080/1031461x.2023.2158426.
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Fensham, R. J., and R. J. Fairfax. "Aerial photography for assessing vegetation change: a review of applications and the relevance of findings for Australian vegetation history." Australian Journal of Botany 50, no. 4 (2002): 415. http://dx.doi.org/10.1071/bt01032.
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Studies attempting to calibrate vegetation attributes from aerial photography with field data are reviewed in detail. It is concluded that aerial photography has considerable advantages over satellite-based data because of its capacity to assess the vertical dimension of vegetation and the longer time period the record spans. Limitations of using the aerial photo record as digital data include standardising image contrast and rectification. Some of these problems can be circumvented by manual techniques, but problems of crown exaggeration that varies with photo scale and variation in contrast between the textures of tree crowns and the ground remain. Applications of aerial photography for assessing vegetation change are also reviewed and include deforestation, reforestation, changes in vegetation boundaries, tree density, community composition and crown dieback. These changes have been assessed at scales ranging from individual tree crowns to regional landscapes. In Australia, aerial photography has provided a clear demonstration of deforestation rates and the expansion and contraction of forest and woodland, which is generally attributed to changes in grazing and fire regimes. It is suggested that manual techniques with point-based sampling, digital processing of data for complete spatial coverages and the application of photogrammetric measurements with stereo-plotters are all techniques with great promise for utilising this underrated medium for assessment of vegetation dynamics.
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Sharp, Ben R., and David M. J. S. Bowman. "Patterns of long-term woody vegetation change in a sandstone-plateau savanna woodland, Northern Territory, Australia." Journal of Tropical Ecology 20, no. 3 (April 21, 2004): 259–70. http://dx.doi.org/10.1017/s0266467403001238.
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Aerial photographs were used to assess changes in woody vegetation cover at 122 locations within a sandstone-plateau savanna woodland in the Victoria River region, Northern Territory, Australia. Despite locally variable vegetation responses, there has been little change in total woody vegetation cover since 1948. Thirty-three locations were also surveyed on the ground. It was found that sites for which vegetation cover had changed over the 50-y period were not significantly different from stable sites in terms of floristic composition, recent fire history, demographic stability among the dominant tree species, or edaphic setting. However, two of the dominant overstorey tree species – Eucalyptus tetrodonta and Eucalyptus phoenicea – showed significantly higher mortality on sites that had experienced vegetation cover decline since 1948. We suggest that observed changes in woody vegetation cover are a consequence of natural cycles of die-back and recovery of at least these two species in response to spatially heterogenous variables such as dry-season moisture stress. Although the widespread decline of fire-sensitive Callitris intratropica populations clearly indicates a historical shift from lower- to higher-intensity burning conditions within the study area, we reject the hypothesis of a landscape-wide process such as changing fire regimes or climatic change as the driving factor behind large-scale vegetation changes detected by aerial photographic analysis.
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Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (December 31, 2022): 19–23. http://dx.doi.org/10.31261/rias.14917.
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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is composed of several pieces specifically focused on Latin America, each of which employs a unique interpretive approach of visual media to, collectively and comprehensively, articulate how this multilayered cultural landscape manifests in our contemporary social imaginary.
The arbitrary delineation of the globe through the notion of ‘the western world’ has, seemingly, transformed the Latin American continent a no man’s land. In its vast extension, this part of the planet seems condemned to exist between two worlds. Despite being part of the western hemisphere, and despite its deep Catholic tradition, this vast region is surprisingly excluded as a member of ‘the west.’ Yet, it was neither placed in ‘the east,’ nor on the other side of the wall, when the world was politically, culturally, and economically divided by the Iron Curtain. This land’s perpetual homelessness might be due to its consistent political instability, to the weakness of some of its democracies, or even its colonial past, one that bears no relation to the Commonwealth of Britain, a belonging that placed Australia in the topos of the West. These reasons, in addition to others, have fostered an understanding of Latin America as being generally alien to the ‘western world.’
Being a no man’s land, deprived of a hemisphere, and broadly unintelligible by the general imaginary of the western cultural industry, this continent, populated by almost 700-million people, was traditionally subjected to stereotypes formulated during the twentieth century, and that remained unchangeable in this new millennium. Latin America has become, for the global imaginary, a place of military juntas, a vast lowland displaying desertic features, a tropical yet savage jungle, a poverty-stricken favela, and a land fought over by romantic revolutionarios.
Certainly, the question remains if the obsolete model ‘western world,’ the also obsolete ‘third world,’ or ‘periphery,’ and even the in vogue ‘global south’ would be able to embrace and reproduce a closer image of this heterogenous and vast continent, and by extension if this generalization is able to denote a set of multiple series of social diversities. We doubt it. This doubt encouraged us to gather diverse scholars from diverse academic disciplines to contribute to this issue of Review of International American Studies. And this doubt, which was at a first glance only intuitive, brough us to avoid the topic of identity and representation as the main theme for this journal’s issue. Our initial plan was to structure the series of contributions on some problematics relating to the photographic medium, a medium that is widely regarded as exerting an objective representation of reality, yet also places the pictorial representation on an undetermined semiotic field. The choice of photography was also a choice of intuition that we quickly abandoned since, in our twenty-first century mediascape, photography represents only one element of a fast and global visual stream that shapes and refashions the collective imaginary of the Latin American continent. Thus, we expanded our scope to include other media such as films, paintings, and any visual-oriented human expression that could provide insights on the complex and chaotic mechanism that formulates and constructs the imaginary on the turbulent entity that we call society.
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GROVE, SIMON J., STEPHEN M. TURTON, and DANNY T. SIEGENTHALER. "Mosaics of canopy openness induced by tropical cyclones in lowland rain forests with contrasting management histories in northeastern Australia." Journal of Tropical Ecology 16, no. 6 (November 2000): 883–94. http://dx.doi.org/10.1017/s0266467400001784.
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Tropical Cyclone ‘Rona’ crossed the coast of the Daintree lowlands of northeastern Australia in 1999. This study reports on its impact on forest canopy openness at six lowland rain forest sites with contrasting management histories (old-growth, selectively logged and regrowth). Percentage canopy openness was calculated from individual hemispherical photographs taken from marked points below the forest canopy at nine plots per site 3–4 mo before the cyclone, and at the same points a month afterwards. Before the cyclone, when nine sites were visited, canopy openness in old-growth and logged sites was similar, but significantly higher in regrowth forest. After the cyclone, all six revisited sites showed an increase in canopy openness, but the increase was very patchy amongst plots and sites and varied from insignificant to severe. The most severely impacted site was an old-growth one, the least impacted a logged one. Although proneness to impact was apparently related to forest management history (old-growth being the most impacted), underlying local topography may have had an equally strong influence in this case. It was concluded that the likelihood of severe impact may be determined at the landscape-scale by the interaction of anthropogenic with meteorological, physiographic and biotic factors. In the long term, such interactions may caution against pursuing forest management in cyclone-prone areas.
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Tamura, Keiko. "Pacific Exposures: Photography and the Australia-Japan Relationship." Australian Historical Studies 50, no. 4 (October 2, 2019): 555–57. http://dx.doi.org/10.1080/1031461x.2019.1662563.
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Tyrrell, Ian. "Environment, landscape and history: Gardening in Australia." Australian Historical Studies 38, no. 130 (October 2007): 339–47. http://dx.doi.org/10.1080/10314610708601252.
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Lydon, Jane. "Photography and Critical Heritage." Public Historian 41, no. 1 (February 1, 2019): 18–33. http://dx.doi.org/10.1525/tph.2019.41.1.18.
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Historical photographs of Australian Aboriginal people were amassed during the colonial period for a range of purposes, yet rarely to further an Indigenous agenda. Today, however, such images have been recontextualized, used to reconstruct family history, document culture, and express connections to place. They have become a significant heritage resource for relatives and descendants. Images stand in for relatives lost through processes of official assimilation—or as this sad history is now known in Australia, the Stolen Generations. This article explores the potential healing power of the photos in addressing loss and dislocation, and emerging tools for supporting this process through reviewing the Returning Photos project outcomes.
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ZAHAR, IWAN. "A BRIEF CONCEPT IN LANDSCAPE PHOTOGRAPHY." International Journal of Creative Future and Heritage (TENIAT) 4, no. 1 (June 30, 2016): 63–84. http://dx.doi.org/10.47252/teniat.v4i1.335.
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AbstrakDi Malaysia, tidak terdapat banyak perbincangan tentang landskap fotografi dan tidak ramai juru gambaryang berkemahiran dalam bidang ini. Penyelidikan ini menggunakan analisis kandungan dan analisis fotodaripada sumber yang berlainan termasuk monograf, buku, dan jurnal. Esei pendek ini menerangkanpengaruh seni Zen terhadap landskap foto, dan perkembangannya di Barat. Ia juga menerangkansecara ringkas tentang sejarah landskap fotografi di Malaysia. Selain daripada itu, esei ini tidak berhasratuntuk menerangkan semua teknik dan konsep landskap fotogafi, tetapi saya cuba menghubungkaitkanpengalaman saya dalam landskap fotografi dan mengintegrasi teori fotografi dalam penciptaan landskapfoto. Kesimpulan kajian ini menunjukkan ramai landskap jurugambar telah memperkembangkan konsepmereka daripada ideologi dan sumber lain seperti lukisan dan falsafah. Tiada pengaruh Zen atau Gestaltdalam landskap fotografi Lambert dan Thompson ditemui.
AbstractThere are not much discussions on landscape photography and also not many photographers in Malaysiaspecialize in this genre. The research uses content analysis and pictoral analysis from many sources,including monographs, books and journals. This short essay explains the influence of Zen art on landscapephotos, and the development of landscape photos in the west. It also briefly explains history of landscapephotography in Malaysia. Furthermore, this short essay does not aim to explain all the techniques andconcepts of landscape photography, but I try to relate to my own experience in landscape photographyand other integrated photograhic theories in making landscape photo. The conclusion of this studyindicates that many landscape photographers develop their concepts from the previous ideas and alsofrom other sources such as painting and philosophy. There are no Zen or Gestalt influences on Lambertand Thompson’s landscape photographies found.
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Pickard, John. "Assessing vegetation change over a century using repeat photography." Australian Journal of Botany 50, no. 4 (2002): 409. http://dx.doi.org/10.1071/bt01053.
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Repeat photography is a technique of detecting changes in the landscape by comparing old and more recent photographs taken at the same place. Information gained is used to detect landscape change as one component of historical ecology. Understanding the causes of any change detected requires additional information. The technique was pioneered in vegetation ecology in Arizona and has since been applied in many other parts of the United States. After a description of the technique, the American experience is reviewed and the problems of detecting change and assigning cause are discussed. The relatively few Australian examples are briefly summarised. There are many limitations of repeat photography, but these can be controlled through a careful approach. Although repeat photography has rarely been used in Australia, it has significant applications in education, in understanding past changes and in helping to help predict future changes in vegetation.
Dissertations / Theses on the topic "Landscape photography – Australia – History"
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
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Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1098.
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The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Willis, Anne-Marie. "Writing photographic history in Australia : towards a critical account." Thesis, The University of Sydney, 1986. https://hdl.handle.net/2123/28611.
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This thesis presents a critical framework for historically considering photography in Australia from the 1840s to the 1970s. The approach adopted is to critically map the currently constituted field of photographic history by taking the existing accounts of photography in Australia and the key issues of photographic history as a series of starting points. These are presented, then interrogated by setting them into new evaluative contexts.
The basic claim of the thesis, presented in the Introduction, is for the necessity of considering and recognising the constitution of photography in the broadest possible terms, and of addressing "the photographic" as it is located at, and formed within, a diversity of social, economic and cultural sites.
Prior to the activity of writing a critical photographic history which maps developments in Australia, photographic history writing itself is problematised. This is proposed in the Introduction and developed in Chapter One, which presents a survey and critical assessment of the different modes, to date, by which photographic history has been produced in Australia.
Chapters Two to Ten historically substantiate the main argument of the thesis by presenting a selective, contextualised and chronological account of photography in Australia. The medium is considered as a professional and amateur practice which intersects with and is deployed by a range of institutions and discourses including those of science, the popular press, the instruments of the state and the aesthetically validated spheres of the visual.
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Swensen, James R. "The Rephotographic Survey Project (19770-1979) and the Landscape of Photography." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194916.
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In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation of the American West. Through analysis of their work, archival documents, contemporary sources, and interviews with the original members of the RSP and several others, this dissertation examines the activities of the project and its various members, which also included Gordon Bushaw and Rick Dingus. More than the RSP, this dissertation also focuses on the growing culture of photography that boomed in the 1970s. Photography was no longer seen as an outsider to the world of art but was benefiting from newfound opportunities and growth. Without such a culture, this work argues, it would not have been possible for the RSP to take place. By the end of their project, however, photography was undergoing another important transition as modernism was giving way to the more critical climate of postmodernism. When the RSP finally published their work In 1984, their project and the community of photography that fostered their ideas was undergoing profound changes. This study also closely examines the RSP's fieldwork in the American West and the various discourses that the project encountered in this meaningful space. Like photography, the West was undergoing significant changes that the RSP was able to observe and document. Through their process that matched images from the past with photographs of their present, the RSP was able to record diverse landscapes that had or had not changed over the subsequent century. Furthermore, it also provided insight into the ways in which the West had been represented and perceived over time and in a new history of the West.
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Riddler, Eric. "Sublime souls & symphonies : Australian phototexts, 1926-1966." Master's thesis, University of Sydney, 1993. http://hdl.handle.net/2123/14449.
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Dracup, Liza. "Photographic strategies for visualising the landscape and natural history of Northern England : the ordinary and the extraordinary." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/7467/.
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This critical commentary reviews and contextualises existing research on Photographic strategies for visualising the landscape and natural history of Northern England: the ordinary and the extraordinary. The commentary examines three major bodies of photographic work that have each been publicly disseminated as major exhibitions, Sharpe’s Wood (2007) nominated for the Prix Pictet (Earth) Photography Award (2009), Chasing the Gloaming (2011) nominated for the Deutsche Börse and Re: Collections (2013). Each case study has been subject to critical peer and public review and this is evaluated in the commentary and a comprehensive box of evidential research material is presented to support the practice-led research submission. The commentary positions the practice-led enquiry against the overall research aims and objectives. The research focus has made a significant contribution to landscape photographic discourse, through experimental and transformational analogue and digital photographic methodologies (camera and non-camera) in the visualisation of the hidden and unseen aspects of the landscape and natural history of the north of England. The commentary frames and highlights the wide-ranging historical collections based research across photographic, artistic and science disciplines, and it tracks their impact on the research trajectory and on my contemporary photographic practice. Photographic critical thinking (Walter Benjamin and Roland Barthes) supported the theoretical research aims; their ideas provided critical filters for practice-led experiments with camera and non-camera seeing and the aim of visualising the hidden through experimental photographic methodologies. Historical and contemporary nature writing also informed the photographic research trajectory, specifically with ideas around the locale within a wider cultural context and ideas around the (lost) meaning of landscape. The resulting research outputs have culminated in an examination of the wider cultural value of the ordinary and the local landscape visualised photographically.
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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.
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Art HistoryPh.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses
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Campbell, Rachel. "Peter Sculthorpe's Irkanda period, 1954-1965: music, nationalism, 'aboriginality' and landscape." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12869.
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Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-country of Central Australia,” “an austere and lonely place” and “a remote and lonely place.” This thesis is a study of the Irkanda-period works on which Sculthorpe’s initial reception was based: the origin of his dominant nationalist project, of significance in both his oeuvre and the history of Australian music. These musical representations of aspects of Aboriginal ‘folklore’ and central Australian landscapes have received significant popular and academic attention. However, many accounts have been shaped by what is identified as a culturally nationalist historiography evident in much of the commentary on Australian music and culture from the mid1960s. This thesis addresses some of the distorting effects of this historiography, through biographical analysis, music analysis and source study. An overarching aim is to analyse the music and reception of Sculthorpe’s Irkanda works in detail to address the question of what it was that audiences found plausibly Australian about them. Sculthorpe’s Irkanda music draws on longstanding representational traditions in classical and entertainment genres of musical exoticism, landscape, and ‘primitivism.’ His work is strongly connected with contemporary non-indigenous Australian cultural expressions of landscape and ‘Aboriginality.’ The relationship of his work with these contexts is explored, as is the nationalist basis of his music and its context within wider Australian and transnational cultural traditions. Keywords Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-country of Central Australia,” “an austere and lonely place” and “a remote and lonely place.” This thesis is a study of the Irkanda-period works on which Sculthorpe’s initial reception was based: the origin of his dominant nationalist project, of significance in both his oeuvre and the history of Australian music. These musical representations of aspects of Aboriginal ‘folklore’ and central Australian landscapes have received significant popular and academic attention. However, many accounts have been shaped by what is identified as a culturally nationalist historiography evident in much of the commentary on Australian music and culture from the mid1960s. This thesis addresses some of the distorting effects of this historiography, through biographical analysis, music analysis and source study. An overarching aim is to analyse the music and reception of Sculthorpe’s Irkanda works in detail to address the question of what it was that audiences found plausibly Australian about them. Sculthorpe’s Irkanda music draws on longstanding representational traditions in classical and entertainment genres of musical exoticism, landscape, and ‘primitivism.’ His work is strongly connected with contemporary non-indigenous Australian cultural expressions of landscape and ‘Aboriginality.’ The relationship of his work with these contexts is explored, as is the nationalist basis of his music and its context within wider Australian and transnational cultural traditions.
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Hodge, Pamela. "Fostering flowers: Women, landscape and the psychodynamics of gender in 19th Century Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1435.
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It is said that when the Sphinx was carved into the bedrock of Egypt it had the head as well as the body of Sekhmet lioness Goddess who presided over the rise and fall of the Nile, and that only much later was the head recarved to resemble a male pharaoh. Simon Schama considered the 'making over' of Mount Rushmore to resemble America's Founding Fathers constituted 'the ultimate colonisation of nature by culture … a distinctly masculine obsession (expressing) physicality, materiality and empirical externality,… a rhetoric of humanity's uncontested possession of nature. It would be comforting to think that, although Uluru has become the focus of nationalist myths in Australia, to date it has not been incised to represent Australia's 'Great Men' - comforting that is, if it were not for the recognition that if Australia had had the resources available to America in the 1920s a transmogrified Captain Cook and a flinty Governor Phillip may have been eyeballing the red heart of Australia for the greater part of a century. My dissertation traces the conscious and unconscious construction of gender in Australian society in the nineteenth century as it was constructed through the apprehension of things which were associated with 'nature' -plants, animals, landscape, 'the bush', Aborigines, women. The most important metaphor in this construction was that of women as flowers; a metaphor which, in seeking to sacralise 'beauty' in women and nature, increasingly externalised women and the female principle and divorced them from their rootedness in the earth - the 'earth' of 'nature', and the 'earth' of men's and women's deeper physical and psychological needs. This had the consequence of a return of the repressed in the form of negative constructions of women, 'femininity'" and the land which surfaced in Australia, as it did in most other parts of the Western World, late in the nineteenth century. What I attempt to show in this dissertation is that a negative construction of women and the female principle was inextricably implicated in the accelerating development of a capitalist consumer society which fetishised the surface appearance of easily reproducible images of denatured objects. In the nineteenth century society denatured women along with much else as it turned from the worship of God and ‘nature' to the specularisation of endlessly proliferating images emptied of meaning; of spirituality. An increasing fascination with the appearance of things served to camouflage patriarchal assumptions which lopsidedly associated women with a 'flowerlike' femininity of passive receptivity (or a ‘mad' lasciviousness) and men with a 'masculinity' of aggressive achievement - and awarded social power and prestige to the latter. The psychological explanation which underlies this thesis and unites its disparate elements is that of Julia Kristeva who believed that in the nineteenth century fear of loss of the Christian 'saving' mother - the Mother of God - led to an intensification of emotional investment among men and women in the pre-oedipal all-powerful 'phallic' mother who is thought to stand between the individual and 'the void of nothingness'.
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Wang, Pengfei, and Jiayi Wang. "A Living Story of Parks : Urban History Research of Stockholmsskolan." Thesis, KTH, Urbana och regionala studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-197633.
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Our thesis started with a continuous discovery of theory and observation. As a group work of landscape architect and architect, during the study of our Urbanism program, we were both curious about the urbanism theories within Europe. Among them, partly in terms of the landscape background, we were particularly interested in the theory of landscape urbanism and its practices in Europe. Spontaneously, this became our original thesis topic. However, after reading and collecting, we realized landscape urbanism theory was never as a main agenda in European academic world as in U.S. On the contrary, the role of landscape in urbanization is unignorable and has been examined for decades in Europe, which is one thing what landscape urbanists try to achieve. Moreover, during our reading of Swedish landscape and planning history, we noticed a series of significant parks which were built between 1930s-1950s, belong to a hardly forgotten design style named Stockholm School (Stockholmsskolan). This particular style and period of time is a fundamental part of Swedish landscape and planning history, deeply influenced the following park design as well as city planning in Stockholm. Almost all the parks of Stockholmsskolan nowadays become attractive spots for citizens gathering together, relaxing, and doing outdoor activities. Some of the parks are our personal favorite places in the city. Nevertheless, we choose this study not only to appreciate the significant parks but also to try to introduce them to other readers who might not be familiar with, especially to those who live outside of Europe with a different natural and cultural context. Our brief study could be the start of further research, and the tool of photography plays a key role in different stages of our thesis. As K.W. Gullers introduced Swedish lifestyle to the world through a photo about life in park seventy years ago, it would also be our honor if our booklet could interest readers to appreciate and rediscover the contemporary Swedish public space and urban life.
Books on the topic "Landscape photography – Australia – History"
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Journey through a landscape: Richard Woldendorp's Australia. West Perth, W.A: Sandpiper Press, 1992.
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Panoramic journey through Western Australia. Hamilton Hill. Perth, W.A: Simon Nevill Publications, 2011.
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Duncan, Ken. The wild frontier Western Australia: Photography by Ken Duncan & Steve Fraser. Wamberal, NSW, australia: Panographs Publishing, 2012.
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Making landscape architecture in Australia. Sydney: NewSouth Pub., 2012.
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Jussim, Estelle. Landscape as photograph. New Haven: Yale University Press, 1987.
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Elizabeth, Lindquist-Cock, ed. Landscape as photograph. New Haven: Yale University Press, 1985.
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Picturing Australia: A history of photography. North Ryde, NSW, Australia: Angus & Robertson, 1988.
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Whelan, Kathleen. Photography of the Age: Newspaper photography in Australia. Sydney, NSW: Hale & Iremonger, 1993.
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Peterson, Robyn G. American frontier photography. Corning, N.Y: Rockwell Museum, 1993.
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1956-, Thompson Christopher, ed. Sydney: History of a landscape. Paris: Vilo, 2000.
Find full textBook chapters on the topic "Landscape photography – Australia – History"
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Wiens, John A., and Richard J. Hobbs. "A Tale of Two Continents: The Growth and Maturation of Landscape Ecology in North America and Australia." In History of Landscape Ecology in the United States, 143–61. New York, NY: Springer New York, 2015. http://dx.doi.org/10.1007/978-1-4939-2275-8_9.
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Scott, Rowena H. "Sustainability in Photography Can Change the World." In Practice, Progress, and Proficiency in Sustainability, 39–53. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5856-1.ch003.
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Photography plays important, but undervalued and misunderstood, roles in how modern urban humans relate to nature and how nature is mediated to us, forming our perceptions and national identity. Typically landscape photography depicts nature aesthetically as sublime, picturesque and beautiful. Photographs have been powerful raising awareness of sustainability and communicating political messages. The chapter reviews the influence of two great Australian wilderness photographers, Olegas Truchanas and Peter Dombrovskis, as well as Edith Cowan University's (ECU) Photography for Environmental Sustainability Competition. In conjunction with World Environment Day, the university invited students to submit photographs that showcase the principles and practices of environmental sustainability. This chapter describes the history, purposes and impact of photography and the competition. Starting as an engagement partnership between the environment coordinator, academics and the Perth Centre for Photography, it is now an international competition across Australia and New Zealand, not exclusive to photography students, hosted by Australasian Campuses Towards Sustainability (ACTS).
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Damousi, Joy. "In Search of Victor: Transnationalism, Emotion, and War." In Total War, 157–76. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266663.003.0009.
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In October 1949, in the closing month of the Greek Civil War, a young soldier named Pandelis Klinkatsis was killed stepping on a landmine in Northern Greece. Pandelis was my uncle. The announcement of his death devastated his immediate family including my mother Sophia. I focus this chapter on the individual story of the loss of my uncle and my mother’s grief to cast a wider canvas on the emotions of war and their enduring legacies. This story explores the repercussions of war such as migration, the impact on sibling and romantic love, absence and separation during and after war. It examines the implications of these displacements in writing an emotional history of war. Such a history is typically conveyed through oral storytelling, and oral history forms the basis of the narrative. But there are two other ways in which the memory and emotion of war experience are kept alive in a transnational world. The first expression is in the form of photography, the second is the role grave sites play in the nexus between mourning and memory over time. Pandelis’s story takes us to Greece, Austria, America, and Australia. I argue that it encapsulates the complex geographical and emotional fragments created by war, which are manifest in love and death, mourning and memory, in a transnational context across four countries. Both the Second World War and the Greek Civil War created a landscape of emotions—the legacies of which are indelible—and continue to the present day.
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Hauser, Kitty. "Revenants in the Landscape: The Discoveries of Aerial Photography." In Shadow Sites. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199206322.003.0009.
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In 1937 John Piper’s article ‘Prehistory from the Air’ was published in the final volume of the modernist art journal Axis. In it, Piper compares the landscapes of southern England, seen from above, with the modernist works of Miró and Picasso (Fig. 4.1). His interest in the aerial view is not, however, confined to its Formalist-aesthetic aspect; Piper also points out how flying and aerial photography have accelerated archaeological theory and practice. Aerial photographs, he writes, ‘have elucidated known sites of earthworks and have shown the sites of many that were previously unknown’. They are also, he continues, ‘among the most beautiful photographs ever taken’. The aerial view, it seems, could be both investigative and aesthetic. The use of aerial photography by archaeologists, known as ‘aerial archaeology’, began in earnest in Britain in the decade in which Piper was writing, although its possibilities were beginning to be suspected in the 1920s, after the use of aerial photography for reconnaissance purposes in the First World War. In the interwar period it was British archaeologists who pioneered the new methods of aerial archaeology. In his book on aerial archaeology, Leo Deuel notes that until the 1950s ‘no other European country had made any comparable effort to tap the almost limitless store of information consecutive cultures had imprinted on its soil’. As many commentators pointed out, the British landscape offered plenty of such ‘information’: the series of invasions, settlements, clearances, and developments that constitute British history have made the landscape a veritable palimpsest, the layers of which can potentially be revealed in an aerial view. Archaeologists became expert in deciphering aerial views of this palimpsest, as we shall see. But such views of Britain exercised an appeal beyond archaeological circles. Aerial photography showed Britain as it had never before been seen; it revealed aspects of the landscape hitherto unknown, or at least never before visualized in such concrete form. The aerial view ‘made strange’ long-familiar features: hills seemed to disappear, towns and cities might appear tiny, rivers and roads ran through the two-dimensional scene like veins.
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Saethre-McGuirk, Ellen Marie. "An i for an Eye: The Collective Shaping of Experience in the Age of Machine-Mediated Art." In Truth in Visual Media, 58–76. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474467.003.0003.
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This chapter concerns the way in which the incessant and exponential use of photography in social media, as a means to form and visually communicate experiences, not only permeates our lives, but also shapes our experience of the world. On the basis of the visual research outputs and findings in the form of the exhibition Norwegian Sublime: Landscape Photography in the Age of the iPhone (Frank Moran Memorial Hall Gallery, Brisbane, Australia), this chapter is an in depth look at our contemporary aesthetic experience of nature and the world around us, through photography and Instagram in particular. Drawing on Susan Sontag and Alva Nöe, this chapter discusses how the digital, social media landscape and our addiction to it does more than merely amplify dissociative seeing. It makes dissociative seeing a new normal.
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Welch, Edward. "Angels of History." In France in Flux, 13–34. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941787.003.0002.
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This chapter explores the relationship between modernisation, space and photography in contemporary France, and the privileged role acquired by photography as a means of portraying a sense of national identity through spatial forms. It focuses in particular on Paysages Photographies (1989), the substantial photo-book which emerged out of the work of the Mission photographique de la DATAR between 1983 and 1988. The Mission photographique was commissioned in the early 1980s by the government’s spatial planning agency, the DATAR (Délégation à l’aménagement du territoire et à l’action régionale), which had been founded in 1963 to drive forward the modernisation of French territory. Its aim was to record the consequences of two decades of spatial transformation and production in France, and by implication marking the end of a triumphant phase of activity. The chapter considers how Paysages Photographies frames and presents the spatial transformations brought about by modernisation; how it captures the impact of spatial planning on the French landscape; and the visual forms taken by planned and modernised space. It explores how different photographers responded to the environments they encountered and, like Walter Benjamin’s angel of history, create an ambivalent sense of spatial transformation as both historical wreckage and half-realised dream.
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Tereza, Stejskalova. "Online Weak and Poor Images: On Contemporary Feminist Visual Politics." In Photography Off the Scale, 97–110. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474478816.003.0006.
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This chapter uses the example of the Instagram account of Alexandra Ocasio-Cortez as a point of departure to elaborate on feminist visual politics that makes a breakdown of technology and human bodies its message and its medium. The aim is to understand the power of encounter between Ocasio-Cortez and her mostly anonymous Instagram followers against the conditions of algorithmic manipulation and explain why the imperfect and amateur visuality of Ocasio-Cortez’s Instagram stream should be considered as an example of the way in which the algorithmic, mass image can become a meaningful, political image. Finding power in figures of weakness, the chapter draws from works by feminist artists and theorists, who place the breakability of both the human body and technology on center stage. It is also to show how the history of resistance of the oppressed can play a significant role in finding ways to navigate the ambiguous landscape of online platforms.
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""Perception, History, and Geology: The Heritage of William Molyneux’s Question in Colonial Landscape Painting"." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.7.
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""Perception, History, and Geology: The Heritage of William Molyneux’s Question in Colonial Landscape Painting"." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.7.
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Furley, Peter A. "6. Changing patterns in the landscape." In Savannas: A Very Short Introduction, 115–37. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198717225.003.0006.
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Relentless population growth worldwide has significantly modified savanna landscapes. ‘Changing patterns in the landscape’ considers how landscape changes differ in Latin America, Africa, and Australasia. The appearance of many savannas has been greatly affected by evolving land use. Many of the landscapes in the New World have only been occupied for relatively short lengths of time and settled only in the most favourable locations. The Old World by contrast, from Africa through India and East Asia to Australia, has experienced a long history of nomadic movement and occupation. The growth of cities in the savanna and the greatly increased pace of urbanization have placed enormous pressures on this land.
Conference papers on the topic "Landscape photography – Australia – History"
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Grant, Angus, and Peter Raisbeck. "A Selective Digital History: Limitations within Digitisation Practices and their Implications." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4013phyct.
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The Greg Burgess Archive (GBA) is perhaps the most complete, and arguably the most valuable architectural practice archive in Australia. However, its physical size presents a problem to both visibility, and longevity, and plans are in place to digitise the collection. While in storage at Avington, Victoria, an archival team – including Burgess himself – have begun repairing the 447 models, scanning the hundreds of tubes of drawings, and extracting data from countless obsolete media. Yet how reasonable is it to assume the efficacy of a program of digitisation? What are the implications for an objective architectural historiography if the process fails? Precipitated by difficulties in accurately digitising Burgess’ intricate physical models, this piece explores both questions. Firstly, the digitisation process for the GBA acts as a case study. Then, the technical limitations encountered are placed within a wider context of archival concerns in today’s diverse, digital age. These archival concerns are recognised in the eliding of ephemeral archival material – bodies, experiences, spoken histories – all of which may elude Western archival frameworks. What is illustrated here is that the same underrepresentation may extend into digitised collections, and that what is omitted is precisely the contents of the GBA – intricate, tectonic objects which do not conform to the idiosyncrasies of the technology at hand. The subsequent discussion then proceeds to advance, and explicate, the notion of the third object. Curation, then, is surrendered to the archival process itself, and the agency to reify our material history is at risk of being left to the machines, and their preference for certain types of ethnocultural artifact. Considering this, alternative strategies are presented for both the GBA and institutions at large, yet archivists and historians must be conscious of these limitations, or risk the failings of traditional, institutional archival systems spreading throughout a growing digital landscape.
Reports on the topic "Landscape photography – Australia – History"
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.