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Dissertations / Theses on the topic 'Landscapes in art'
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Pontelli, Elena. "Landscapes before the landscape in ancient Etruscan art." Thesis, IMT Alti Studi Lucca, 2022. http://e-theses.imtlucca.it/347/1/Pontelli_phdthesis.pdf.
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This thesis approaches the broad field of landscape study from a specialized standpoint, namely by investigating the different ways in which landscape is represented in Etruscan art.
In particular, this analysis aims to identify the significance of what we might nowadays refer to as “landscape elements” in the production-fruition systems of Etruscan visual culture. The iconographic analysis presented here shows that landscape features are working material which, employed in relation to other image elements, express specific meanings in the construction of the image.
This thesis begins with an historiographical overview of the ways landscape representation has been investigated over time, including by visualizing the relationships and influences between the different disciplines that have approached landscape as a research topic. The core section then considers all kinds of representations of landscape elements (landscape elements that appear isolated within images as well as more structured and coherent ensembles of landscape features) in Etruscan art, from its earliest period to the threshold of Hellenism. The analysis and presentation of images is based on a ‘situational’ categorization (theme/context-based categories) designed to enable transversal readings. Dealing with the multiple ‘landscapes’ that existed before the landscape (aesthetically appreciable as a pictorial theme), entails moving along two different but interconnected paths. On the one hand, we can see landscape features performing different functions in different visual occurrences. On the other hand, from the perspective of an unfolding elaboration of figurative structures, these features can be analyzed as individual signifying structures that were only organized into broader uniform configurations over time.
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Hogarth, Jan. "'Dislocated landscapes' : a sculptors response to contemporary issues within the British landscape." Thesis, University of Sunderland, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268041.
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McGirr, Diana Rosemary. "Legitimate landscapes: repositioning regional art production." Thesis, Curtin University, 2016. http://hdl.handle.net/20.500.11937/48488.
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This thesis employs art history and critical ethnography to examine contemporary art production in the South West of Western Australia. Responding to a paucity of publications and critique, and a claim the art scene is ‘folksy’ and ‘not up-to speed’ with metropolitan art scenes, I argue that ‘being regional’ is a legitimate position on its own terms and as part of a growing global tendency to recognises the validity of regional contexts and perspectives.
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Roberts, Judith. "Drawing the Artesian: Extracting Methods to Visualise Unseen Landscapes." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366164.
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Groundwater basins are vast subterranean reservoirs of water whose complexity is not yet fully understood by scientists. These ancient aquifers resist simple imaging and, through their enormity, depth and systemic complexity, present challenges to scientists and artists alike. My research practice has sought to deploy various drawing strategies and print processes to uncover something of the land/water interactive systems that we cannot visibly experience. A deeper personal understanding of the fragile history and geography of Western Queensland has been revealed through the physical act of mark making on site at these watersheds. Through the construction of my immersive drawing investigations, the earth, rocks, water and the surrounding physical environments have influenced my ways of seeing, reacting and perceiving and, in the process, enabled a new response to land.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Jordan, Benjamin Thomas. "Synthetic Landscapes." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4303.
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My work explores the complex social geography of modern society and the intricate relationship between mankind and the environment. Through this work I explore the past and present lineage of manifest destiny, from its beginnings in Europe to western expansion in America, to forms it has takes in contemporary America. These ceramic forms serve as the conceptual grounds to explore the romanticizing of the western landscape especially from an individual and group perspective. I simultaneously celebrate the history of the pastoral life while questioning the authenticity, and motivations of that lifestyle, and use this platform as a jumping off point to ask questions about humanities complicated relationship with nature. Through hand-labor, contemplative making, and a reverence for tradition, I explore both interrelated and divergent human perceptions using clay as my primary medium.
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Lambert, Raymond John. "Landscape existing with art : a study of ideas and style in John Constable's landscapes." Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313592.
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Smith, Matthew. "Unpresentable landscapes and the art of the index." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/1913.
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This practice-led PhD determines an aesthetic approach through which a sense of the ‘unpresentable’ may be exposed within camera-based representations of the industrial landscape. Through an interrogation of contemporary lens-based media, it proposes ways in which experiences problematic to representation – such as the sublime, the uncanny and the traumatic – might be revealed within photographic/filmic images of such landscapes. The culmination of the practical element of the project is a 25-minute narrative-based, single channel video piece entitled Re: Flamingo, which combines HDV and Super-8 footage with digital and traditional still photography. The narrative structure of the work is based on E.T.A. Hoffmann’s short story The Sandman (1816), which Freud cited in his essay The Uncanny (1919). Re: Flamingo is a semiautobiographical variation on that tale, consisting of an email conversation between the artist, his father and the fictional ‘Clara’. Through this correspondence, the piece reveals correlations between themes in The Sandman and Ridley Scott’s science fiction film Blade Runner (1982) (e.g. traumatic memory, a fascination with eyes/sight and each protagonist’s obsession with mechanized life). It reflects upon how the industrial landscape of Teesside – which inspired many of the visuals in Scott’s film – has been remembered in different photographic media by three generations of the artist's family. The practical submission is supported by a contextual written element, which consists of two parts. Part One is a theoretical review. Firstly it traces philosophical and aesthetic approaches to the sublime, its representation, its status as a subjective experience and its presence within the industrial landscape (Lyotard, Kant, Derrida, Nye). This is continued through an analysis of the related theories of the uncanny and the traumatic (Freud, Vidler, Luckhurst), their association with industrialization and relationship with lens-based media. The uncanny qualities of the photographic and cinematic image are examined alongside correlations of the indexical properties of such images with trauma (Mulvey, Barthes). Finally, an analysis of the camera image’s indexical status in the wake of digitization, and its consequent alignment with artforms such as painting (Gunning, Rodowick, Manovich), assesses its potential for expressing subjective experience. Part Two of the contextual element explores creative approaches to the themes outlined in Part One. Firstly, it examines Canadian artist Stan Douglas’s film piece Der Sandmann (1995), which exposes a sense of the uncanny in the landscape of pre- and post-reunification Germany. Secondly, it reflects upon Blade Runner’s significance to the practical element and its correlations with the Sandman narrative. The final section of Part Two details the development and formation of the studio research, documenting its distinctive approach to figuring a sense of the unpresentable within camera-based representations of the industrial landscape.
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Frears, Lucy. "Unlocking landscapes using locative media." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/13330/.
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This interdisciplinary research is situated within the practice and discourse of locative media at the confluence of art, location and technology. The practice-based research project aims to use the arts to address a crisis arising from rapid redevelopment in a marginal coastal town – Hayle, Cornwall. A recent supermarket build on a prominent Hayle heritage quay led to UNESCO’s threat to de-list the entire Cornwall and West Devon Mining Landscape World Heritage Site, awarded only in 2006. Research builds on recent findings on the link between increased sense of self and community cohesion through connection to heritage and participation in the arts. Media artists, participants and theorists have indicated that locative media experiences can promote connection to landscapes and their histories. However, these claims are unsubstantiated by empirical research to date. This research seeks to redress that through systematic analysis (unusual in the arts and therefore distinct). The main research question posed was: Does locative media allow people to develop a deeper connection with landscape and, if so, how? A smartphone deep map app was created – an evocation of a Cornish post-industrial landscape assembled from audio memory traces, sound and visual images revealed using GPS and the moving body. The Hayle Churks app weaves past and present, absence and presence and digital content into physical place. The Hayle Churks app is a research tool and published creative practice that received a national award in 2014. The empirical data is an original contribution to knowledge. Additional contributions include a timeline – a historical overview of the relationship between locative media art and emerging technologies and a deep map app reference tool for artists. The research explores the role of immersion and embodiment and how recording and listening to audio and voice performance affect immersion. Readers of this thesis are encouraged to access the Hayle Churks smartphone app prior to and during reading.
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McMasters, Neil G., and neilgmcmasters@mac com. "Impressions from Virtual Landscapes." RMIT University. Art and Culture, 2003. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090715.142840.
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The aim of this project was to build and render digital landscape models that reflect natural element characteristics and use the resulting data sets as source material for fine art investigation and production. The project utilized 3D computer modeling techniques, selected output technology and studio facilities. Computer-generated virtual landscapes material was incorporated into studio practice by providing observed environmental content for the development of works for exhibition. An accompanying exegesis explored the relationship and tensions between digital landscape data sets and the broader use of landscape as a motif within an Australian context.
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Price, Brandi. "Aural Landscapes." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2451.
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Music and design draw upon innate parallels concerned with the creation and existence of space. By acknowledging the roles of both the visual and the aural in my design process as input and output, I attempt to achieve a deeper understanding of my intuition as a visual communicator. I believe that the visual and aural are linked—existing harmoniously together. The collected works present ever-evolving ideas on visualizing the experience of sound.
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Turner, Sarah Elizabeth. "Constructing landscapes : art in Neolithic and modern southern Brittany." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446864/.
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The aim of this thesis is to study the concept 'Neolithic art' in one area of southern Brittany, between the Etel and Auray rivers, with some attention to the best known sites in the Gulf of Morbihan. The thesis is divided into three main sections each of which 'translates' 'Neolithic art' from a particular perspective, or, in terms of the title of the thesis 'constructs landscapes' through 'art'. The thesis is therefore a study of 'art' and how it is part of, and is understood in, the surrounding world. Each section of the thesis is considered as a 'frame', which discusses 'Neolithic art' from a different perspective. Each frame develops one idea of a landscape, which is explored through, and which creates 'art'. The first 'frame' is considered in Chapter 2 of the thesis, and is an enquiry into how the genre 'Neolithic art' was created and developed in Brittany as an archaeological study. The second 'frame', Chapters 3 to 5, is a subjective account of how 'Neolithic art' might have been constructed or used in the Neolithic period itself. The third frame, considered in Chapter 6, is an examination of how tourists might understand and create 'Neolithic art' in Brittany. As each frame is developed it is shown that one must go beyond the motifs to understand the concept 'art'. It is through 'art' features such as the colour, texture and shape of monuments, in essence the monuments themselves, and through different sensory experiences of the monuments and the surrounding world, which are beyond the carved motifs, that we see, within the context of the thesis, how complex and wide reaching the sense of 'art' really is and how it must be considered as part of our experience of the environment in which we live. Together the three frames offer three different but inter-dependent experiences of Neolithic 'art' in the landscape, and result in the creation of three recognisably different constructions of 'art' in the lived-through-world. Taken together, the three frames show how 'art' can be constructed, but also how it constructs meaning, in the lived-through-world - constructing landscapes through 'art' - in different, contrasting and changing ways. By considering the same objects within different frames of experience the intention is to show, from the micro-scale (motif) to the macro-sale (monuments and landscape), how 'Neolithic art' can be created, how it can mean, and how it is constantly changing, multivalent and broad reaching.
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Barlow, John. "Experiences of travel and northern rural landscapes in contemporary art." Thesis, University of Brighton, 2017. https://research.brighton.ac.uk/en/studentTheses/c1e76a25-99b3-4fa0-9a0e-33966a589882.
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This practice based study investigates engagement with interconnecting themes of travel and rural landscape in contemporary art practice. It argues that cross-disciplinary reading and interaction between a grouping of select art practice and history of art scholarship and a grouping of select cultural geography, tourism, sociology and social anthropology scholarship, generates a richer understanding and communication of these themes in contemporary art. A review of existing scholarship reveals that there are a number of existing contemporary works of art which demonstrate engagement with interconnecting themes of travel and/or northern rural landscape. Despite this, they are yet to be presented as an identifiable, coherent, body of work of significance to the research community. Existing art historical interpretation and analysis of this work additionally fails to reference recent, relevant discourses of embodied experiences of travel and landscape which characterise much of the associated scholarship in cultural geography, tourism, sociology, and social anthropology. A combination of history of art and art practice methodology is utilised in this study to address this gap in scholarship. In the thesis, I identify and set out relevant existing scholarship in the disciplines of art practice and history of art, and those of cultural geography, tourism, sociology and social anthropology. Select examples of contemporary art are analysed and evaluated in relation to ‘wayfaring’, a theory sequentially formulated by social anthropologist Tim Ingold. Two key concepts articulated by Ingold, those of 'linear journeying' and ‘within-ness’, form the conceptual framework for this exercise. Drawing on the findings of this engagement with works by other artists, I propose an original method of ‘bridging’ as a hybrid art practice/history of art strategy for further addressing the gap in scholarship and delivering a further original contribution to knowledge. The artists’ book is identified as an effective, appropriate contemporary art medium for undertaking this bridging. I review examples of contemporary artists' book practice and explore this medium’s potential for communicating embodied experiences of linear journeying and within-ness in the context of a travel and rural landscape subject. I produced an original artists' book, 'Travelling the Line'. This work details my experiences as a hiker and artist of travelling to two particular northern rural landscapes for this study, the Scottish Highlands and Finnish Lapland. Part travel guide, part art object, 'Travelling the Line' takes the form of a hardback print book and a stand-alone, online digital platform, the latter of which includes additional video and sound content. It successfully communicates my own personal, linear, embodied act of travelling; and demonstrates the value of bringing together two bodies of scholarship, Ingold's theories and contemporary art practice. Included with this thesis is a print version of 'Travelling the Line' and an online version, accessible at https:// travellingtheline.wordpress.com.
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Haydon, Kirsten, and kirsten haydon@rmit edu a. "Antarctic landscapes in the souvenir and jewellery." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.
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Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
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Zhu, Chenlu (Cindy). "Searching For A Graspable Past: Landscapes, Nostalgia, And Chinese Contemporary Art." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1311.
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Landscape art reinvents itself throughout history, along with changes in relationships between humans and nature. During unprecedented processes of urbanization, industrialization, and globalization, the past two hundred years witnessed shifts in global landscapes. The idea of using art to cope with a sense of loss becomes the departure point for my art project. To contextualize my work, I will discuss art scenes in urbanizing Europe and contemporary China and explore the powerlessness of individuals under the formidable trend of development reflected in landscape art.
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Bunn, Leanne. "Changing landscapes : Norman Cornish and North East regional identity." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3677/.
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This thesis examines the work of the Durham pitman and artist Norman Cornish whilst analysing the economic and cultural climate which has promoted and sustained his career as a regional artist for over seventy years. Cornish’s depiction of mining life remains widely acknowledged by regional patrons and the local media as an iconic representation of the distinctiveness of North East mining communities. The fact that his work continues to receive considerable media attention whilst maintaining a strong patronage within the region, promotes several issues relating to the understanding of regional culture and identity. Why has Cornish’s work remained so enduringly popular and what does this reveal about the dynamics of North East regional culture? This research considers the interpretation and patronage of Cornish’s work during key periods of the region’s development and in doing so provides the first sustained study of Cornish’s career in relation to regional cultural identity. Industrialisation, economic change, concepts of community and nostalgia are all recognised as fundamental factors which have shaped the region’s cultural identity during the twentieth century. Essentially, it is argued that a sense of ‘Northernness’ is crucial to Cornish’s regional popularity. Significantly, this thesis identifies a variation between Cornish’s regional and national popularity. The artist’s strong local appeal has not been replicated consistently on a broader national level. It is suggested that the varying national interest in Cornish’s career should be considered in relation to wider artistic trends as well as patronage from organisations such as the National Coal Board. On a regional level, a large proportion of Cornish’s continued appeal to local audiences can be attributed to the sympathetic response from the regional media. Whilst the study of regional identity within the scope of visual culture is by no means a new or impoverished field, this study adopts a thematic treatment of culture, identity and representation, in order to understand the contribution of visual culture to regional identity during the twentieth century. By dealing with visual culture in its broadest and most fluid sense, this study consults both social and cultural history sources alongside art historical perspectives.
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Rapp, Karen M. ""Not the romantic west" : site-specific art, globalization, and contemporary landscapes /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Liu-Devereux, Pauline Carol. "Galleries and drift : mapping undermined landscapes." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.
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This is a creative/critical project, a collection of narratives inspired by critical discourse that map a local landscape and chart a personal topography. As a result of interdisciplinary study, particularly in the area of cultural geography and map making, I found new ways to explore ideas about Cornwall’s heritage, her undermined landscape and expand upon issues raised in my MA dissertation. Recognising the instability and partiality of maps provided insight and mapping became method as newly revealed pathways and subtly shifting perspectives inspired fresh narratives which challenge stereotypical images of Cornwall and reveal the sometimes dark realities of rurality. The more personal narratives in this collection reveal a different undermined landscape: ideas about romantic constructions and inheritance led to explorations of nostalgia, memory and identity. Life events became life writing and many of these narratives reflect a search for direction and for a missing person: the artist I once was. But there are other disappearances in these narratives and the final chapter gives an account of family events that had to be recorded but which raise ethical questions that life writers cannot ignore. We must take responsibility for the way we write about vulnerable subjects and recognise what this writing tells us about ourselves: that, as Nancy K. Miller has suggested, by exposing our lives to others through life writing, we too become vulnerable subjects. The essay accompanying these narratives reflects upon process and finds ways of giving an account of the writer writing. It uncovers contemporary theories that are embedded in the narratives and I describe it as an orouboros, a creature that continuously eats its own tail. Like the text it subjects to scrutiny, the essay is a life narrative, an autobiographical act that merges creative and critical thinking and this amalgamation has been my aim since my studies began.
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Murray, Kristina. "Engendered Modern: The Urban Landscapes of Georgia O'Keeffe, Florine Stettheimer and Berenice Abbott." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/511014.
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Art HistoryM.A.
This thesis explores the dynamic relationship between artists Georgia O’Keeffe, Florine Stettheimer, and Berenice Abbott in relation to the growing urban landscape of New York City in the 1920s and 1930s. Previous scholarship has drawn parallels between these three artists’ careers solely in terms related to their biography and gender identity rather than their work. In contrast, my project identifies a common formal subject that links an experimental phase in all three women’s work, and explores the reasons these three individual creators found portraying the city to be an effective strategy for developing her own take on modernist style. Inspired by rapid development, each artist made work that shared her inventive vision of the city. Using visual analysis and historical context associated with the second wave of skyscraper construction as well as the second generation “New Woman” movement, I argue that each artist produced idiosyncratic art that makes sense of the rapidly morphing city surrounding them. Eschewing conventional gender expectations and traditional art historical narratives, the three artists tell visual stories that illustrate life in a modern urban city. Each woman’s goals and artistic expectations differ, but they all share the struggle to achieve professionally despite systemic roadblocks placed before them by the male-dominated art world. With the city as their muse, they utilize the metaphor of organic growth to encapsulate the city in flux.
Temple University--Theses
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Poet, Sallie Clinton. "Peregrinations." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2315.
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This project report explains my MFA show of landscapes presented at the Woodbury Museum in Orem, Utah. Referencing source material from my 2008 trip to the Middle East, Bible narratives and contemporary scholars, I created mixed media paintings around the themes of traveling and migrations (peregrinations) and some significant stopping places in Syria, Jordan and Israel. More importantly, this report also speaks to my personal peregrinations as an artist and relates my painting methods to my subject matter.
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Edwardes, Christian. "Peregrinations with maps and landscapes : narrating the spaces of practice in fine art." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9192/.
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For some art historians the notion of geography has never had as much importance in art as in recent years. At the same time numerous geographers have been engaged in a diverse range of artistic practices from installation to new genre public art. Often engagements between geographic theory and contemporary art practices are rooted in the peripatetic activities of the mid-century urban avant-garde. Recently, however, artists have been grappling with a number of problems that are distinctly geographic, from studies of place, location and situation to counter-cartographic excursions aimed at reframing our understandings of the world. Yet few of these engagements reflect on the geographies of the studio, or on the constructed situations in which work is created. Whilst this study begins with an intention to map a series of subject-environment relations in various urban and rural locations, it quickly turns to the complex geographies of the space that is determined as a ‘studio’ and on the processes of constructing an environment for creating works. The research is rooted in what has been variously termed practice-led, practice-based or simply artistic research. As such research is conducted principally in and through a personal creative practice, but in the course of navigating art-geography relations the research draws on a number of post-representational theoretical strands. In doing so the study navigates between the studio and location, event and representation, in order to show how artworks are implicated in, and co-productive of, nebulous spatial relations that are not enclosed by the surface of the image, the frame of the studio wall or the site of exhibition. Central to this thesis is the argument that artworks remain fundamentally ontogenic—both acting on future works and continuously remade in each reflective revisit.
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Bentkowska-Kafel, Anna. "A computer-aided iconological analysis of anthropomorphic landscapes in western art 1560s-1660s." Thesis, Southampton Solent University, 1998. http://ssudl.solent.ac.uk/2461/.
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This study is concerned with anthropomorphic landscapes in the 16th and 17th century art in western Europe, their origins and legacy. The composition of such works is based on the idea of double-imaging: they are visual representations of fantastic landscapes depicted in the form of human heads or whole figures, in which trees, rocks, buildings and other elements of the natural and man made environments are used to represent anatomical features. Such images escape classification and make terms traditionally used in the history of art to describe pictorial genres redundant. No earlier monographic study of anthropomorphic landscapes has been located. When considered previously, individual examples of anthropomorphic landscapes were considered as anamorphoses (art of distorted perspective) or composite heads in the style of Giuseppe Arcimboldo, ie grotesque depictions of people whose bodies consisted of various objects. By stressing the 'portraiture' aspect of the composition earlier scholars neglected the landscape. In this study these approaches are re-examined in the light of contemporary visual and textual evidence and a different iconological interpretation is proposed. Within the double-imaging the image of man and the image of Nature are regarded here as equally important and totally interrelated: man is the image of the world. Anthropomorphic landscapes are seen as meaningful cosmological representations of the world. They illustrate the religious, philosophical, scientific and artistic concept of man being 'a little world'. This ancient tenet of natural philosophy has been replaced by modern concepts of the world and the cosmological meaning of anthropomorphic landscapes has been lost. This research is also concerned with the use of digital technologies in iconographical analysis and interpretetion. The catalogue raisonne of anthropomorphic landscapes has the format of an interactive multimedia application. It also incorporates an anthology of texts on anthropomorphism and a biographical dictionary. The iconographical analysis of the works was greatly aided by image processing, and the use of pattern recognition techniques was investigated as an laternative to traditional classification systems. The implications of digital imaging methods and the role of digital discourse as an interpretive technique for iconographic studies are also considered.
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Deacon, Vivien. "The rock-art landscapes of Rombalds Moor, West Yorkshire : standing on holy ground." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21345/.
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This study adopts a landscape approach to all the rock-art sites on Rombalds Moor in West Yorkshire, 252 unmoved sites, to consider views of and from the sites. British rock-art is generally believed to date from the later Neolithic to the later Bronze Age, but a case is made for it perhaps beginning in the later Mesolithic. What is known of environments for the Moor over this whole period provides a basis for a reconstruction of rock-art landscapes. A case is made for the applicability of ethnography from the whole circumpolar region to the personal construction of people’s landscapes in prehistoric Britain. All sites were visited, and the sites and their views recorded, both as written records and as photographs. The data was analysed at four spatial scales, from the whole Moor down to the individual rock. Several large prominent carved rocks, interpreted as natural monuments, were found to be visible from many much smaller rock-art sites. Several clusters of rock-art sites were identified. An alignment was also identified, composed of carved stones perhaps moved into position, and other perhaps-moved carved stones were also identified. The possibility that far-distant views might be significant was also indicated by some of the findings. The physicality of carving arose as a major theme. The natural monuments are all difficult or dangerous to carve, leading to considerations of risk, including being seen to embrace risk. Conversely, the more common, simple sites mostly required the carver to kneel or crouch down. This leads to comparisons with what is known of North American rock-art, where some highly visible sites were carved by religious specialists, and others, much smaller and inconspicuous, were carved by ordinary people. This was not an expected finding for British rock-art, and further research is indicated.
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Boyd, Jane E. "The mapping of modernity impressionist landscapes, engineering, and transportation imagery in 19th-century France /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 319 p, 2009. http://proquest.umi.com/pqdweb?did=1818417341&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Reece-Hughes, Shirley (Shirley Ellen). "Arthur Garfield Dove's landscape assemblages: a unique intersection of European modernism, American ideas, and nature-based abstraction." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc798472/.
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In the middle of his career, Arthur Garfield Dove created a smell yet novel body of landscape assemblages. They illustrate Dove's central interest in evoking nature--its motifs and rhythms--through imaginative associations of organic and man-made materials. These works represent Dove's synthesis of contemporary European stylistic and intellectual ideas as well as American philosophies and concerns. They also reflect the influence of Alfred Stieglitz and his circle and the artist Helen Torr, Dove's second wife. This study examines how Dove used a complex interplay of European theory and technique, American ideas and his own nature-based abstract style to create the landscape assemblages, works that are uniquely independent in the history of American art.
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Haertel, Nilza Belita Grau. "Landscape and nature in American prints : transformations in form and meaning in the work of contemporary women artists /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3240649.
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Mihok, Lorena Diane. "Unearthing Augusta: Landscapes of Royalization on Roatan Island, Honduras." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4920.
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In 1742, the settlement of Augusta was established as an outpost of English royalization on Roatán Island, Honduras. This military camp housed a mix of English soldiers, English colonists, and local indigenous Miskitu peoples. While the settlement was occupied for only a brief span of seven years, the material record of the community provides insight into Miskitu-English interactions during the royalization process. Royalization encompassed strategies deployed by the English Crown to bring about loyalty to the state. In this dissertation, I discuss the concept of royalization from an agent-centered perspective to consider the intentions behind the occupants' usage of objects and spaces in everyday practice. This interdisciplinary research integrates documentary evidence with the results of four field seasons of archaeological investigations, which have unearthed mixed deposits of English and Miskitu material culture. I contend that such deposits indicate that Augusta's occupants were participants in the royalization process, but that these strategies were not fluid or enforced. The royalization of Augusta was complicated by a number of factors including the settlement's distance from the Crown, its local environment, and the diversity of its occupants. By considering the historical and archaeological evidence, I contend that elements of English lifestyles were integrated into Miskitu identity, and that this integration reveals some of the ways in which the process of royalization was adapted to the unique social and natural landscape of the western Caribbean.
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Morini, Walkiria Pompermayer 1972. "Pensar ver não ver = paisagens inventadas = Thinking one sees not seeing : invented landscapes." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284489.
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Orientador: Lygia Arcuri ElufTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T12:50:18Z (GMT). No. of bitstreams: 1 Morini_WalkiriaPompermayer_D.pdf: 208868090 bytes, checksum: 76cdbaa3965efa980f07a04f6b8c5860 (MD5) Previous issue date: 2013
Resumo: A presente pesquisa em artes visuais apresenta um estudo sobre o percurso de criação de imagens através da linguagem e materialidade da pintura e da análise dos elementos que configuram seus resultados. Os trabalhos realizados entre os anos de 2008 e 2012 compreendem apreensões sobre novas representações da paisagem, articulações da linguagem visual e uma reflexão sobre o uso da cor como elemento principal no percurso de criação artística. Algumas séries de pinturas e desenhos e os cadernos de estudo, selecionados para este trabalho, representam a continuidade de uma pesquisa sobre a construção de imagens, desenvolvida no mestrado, relacionando a reflexão sobre os procedimentos e referências que constituem as intercorrências poéticas. Ordeno neste estudo, imagens bidimensionais, como o desenho e a pintura, que articulam elementos da linguagem visual e permitem a ampliação da compreensão da dinâmica do processo criativo. A partir de estudos sobre a produção recente, foram levantados alguns resultados que apontam para a dissolução da figuração e abertura de espaço para soluções voltadas para a abstração, dissociadas da paisagem real e potencializadoras de uma nova representação na pintura
Abstract: This research into visual arts presents a study on the image creation process through the language and materiality of painting and by analyzing the elements embodying their results. The work carried out between the years 2008 and 2012 comprises approaches to new representations of landscape, articulations of visual language, and a reflection on the use of color as the main element in the artistic creation process. Some series of paintings, drawings, and sketchbooks selected for this study represent the continuing research on image construction developed in the master's program, providing a reflection on procedures and references that constitute poetic intercurrences. In this study, I arrange two-dimensional images, such as drawing and painting, which articulate elements of visual language and allow for a broader understanding of the dynamics of the creative process. Studies on the recent works turned up some results that point to a dissolution of figuration and room for solutions directed towards abstraction, dissociated from the real landscape and with the potential for a new representation in painting
Doutorado
Artes Visuais
Doutora em Artes
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Kowalczyk, Stephanie W. "Beyond the Painted Diary: Love, Loss, and Modernity in the Landscapes of John Singer Sargent." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470007149.
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Baum, Michael B. "Boundaries notions of land, space, and memory /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/m_baum_041610.pdf.
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Vasconcellos, Diego Hoefel de. "Between Portraits and Landscapes: Essay on Face in Cinema." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12568.
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nÃo hÃThe research is divided into three parts. The first is a study of the face and its relationship with the portrait, from classical definitions and approaches between the two concepts in art history. The second part of the dissertation deals with the face in film and concatenates the analysis of a few filmic propositions with different theoretical approaches as a way to reflect on the face in silent, classic and modern films. The vectorized face of classic cinema, treated as the main space of identification with the characters, operates differently from the deep face of modern cinema, which reveals internal movements, anxieties, nauseas. Both are, in the third part of the dissertation, confronted with the contemporary face. Space in which intensities and affects emerge, the face that appears in a certain recent film production is closer to the landscape than to the portrait.
A pesquisa à dividida em trÃs partes. A primeira consiste em um estudo sobre a relaÃÃo entre rosto e retrato, proposto com base em definiÃÃes clÃssicas e aproximaÃÃes entre os dois conceitos na histÃria da arte. A segunda parte da dissertaÃÃo aborda o rosto no cinema e encadeia a anÃlise de algumas proposiÃÃes fÃlmicas com distintas abordagens teÃricas para discutir o primeiro plano nos cinemas mudo, clÃssico e moderno. O rosto vetorizado do cinema clÃssico, tratado como espaÃo principal de identificaÃÃo com o personagem, opera de forma distinta do rosto profundo do cinema moderno, nos quais se revelam movimentos internos, angÃstias, nÃuseas. Ambos sÃo, na terceira parte da dissertaÃÃo, confrontados com o rosto contemporÃneo. EspaÃo de intensidades e afetos, o rosto que surge em uma determinada produÃÃo cinematogrÃfica recente aproxima-se mais da paisagem do que do retrato.
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Nicoletti, Martino. "Submerged landscapes : aesthetics of visual primitivism." Thesis, University of the West of Scotland, 2012. http://hdl.handle.net/10545/303736.
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This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.
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Bolger, Wendy. "Pleasure framed : the potential of constraint in the art process as a means to aesthetic freedom and positive connection to places of past colonialism." Thesis, University of Ballarat, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/63841.
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"This art based project is a personal exploratory journey through the potential of constraint, to fine aesthetic freedom and positive connection with places of past colonisation - in particular Lake Mungo in New South Wales, and places of my pastoral background in New Zealand." --Abstract.Doctor of Philosophy
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Mueller-Heubach, Oliver Maximilian. "From Kaolin to Claymount: Landscapes of the 19th-Century James River Stoneware Industry." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623630.
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This dissertation will examine the James River stoneware tradition, which encompasses parts of Henrico, Dinwiddie, Prince George, and Charles City Counties, south and east of the Falls of the James at Richmond, Virginia. This area has one of the richest histories in American ceramics. The essential elements of stoneware production will be examined. This dissertation will provide the only comprehensive overview of this regional industry with in depth descriptions of the relevant potteries, potting families and their environment. Detailed description of ceramic forms and decorations specific to individual potters will be provided. The archaeological research done at the potting sites, much of it participated in by the author will be presented. This will allow future attribution and dating of James River stoneware.;Landscapes of the 19th century James River stoneware industry will be explored and the nature of the potters' craft and community will be analyzed within the Meshwork as used by Tim Ingold. Through applications of both structural and semiotic approaches the production, relationships, and landscapes of the potteries will be organized and problematized. An effort will be made to provide as deep and broad a context as possible including social, political, and economic conditions. Archaeological, historical, and oral data will be used to understand the potters' habitus and the roles of artisans, their neighbors, landscapes and artifacts in actively creating that world.
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Sunderland, John Samuel. "In flux : land, photography and temporality." Thesis, University of Northampton, 2015. http://nectar.northampton.ac.uk/9735/.
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This thesis accompanies a practice as research doctoral project that investigates the perceptual mechanisms and conceptions of land as a site of constant change. It utilises photographic practice as a form of visual communication. The aim is to examine the roles of movement and memory in the perceptual experiences of the environment through a phenomenological framework that involves the consideration of the concepts of place and space from a temporal perspective. The principal theme is how the moving and changing environment can be interpreted through the stasis of photography and what this implies about the individual’s relationship to it. The research methodology is a Rhizomatic multi‐site and multi‐process approach, utilising various methods and investigating site types appropriately as an interwoven practice. This has resulted in five separate bodies of work that deal with different forms of movement. The work employs close range photogrammetry techniques liberated from the empirical traditions of archaeological photography and time‐lapse to investigate the human‐scaled aerial view and visually interpret embodiment in the environment. An exhibition, titled Continuum derived from this practice was also shown at Avenue Gallery, Northampton University, UK, from 27th October 2014 ‐ 7th November 2014. A catalogue of works, titled In Flux; Land, Photography and Temporality accompanies this thesis as a PDF on the disc provided (appendix # 1). The research concludes that a consideration of time and space as durational and flowing can be interpreted through the stasis of photography. Through this the changing nature of the environment can be investigated. This is achieved by extending the duration of photographic processes and making them evident in the resulting works. It is also enhanced through curatorial sequencing in a body of work that mimics environmental temporal experience as perceived by the mobile individual.
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Thompson, Lindon J. "Trace and the makers of meaning." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1074.
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One of the greatest accessible records of trace and the past is the landscape, which over time acts as a repository of evidence from natural forces and things that humans have created or changed. This thesis considers trace as material and nonmaterial evidence, remnants, marks, vestiges of events past and forgotten or remembered. How can a past that is evidenced only by its traces be read within a landscape context by disciplines of knowledge production? The subsequent interpretation, generation of meaning and understanding of traces contributes to the knowledge, mythology and perceptions of reality for differing groups in different places. At the same time this research considers my own arts practice, paintings which are derived from a unique process of casting various found surfaces (wood, metal, brick, etc) and extracting the ‘traces’ in acrylic paint, removing and transferring a thin layer of the original surface material which may or may not be reworked further. The paintings, from the environment of a bygone time, remind us of what we see and yet often may not notice. They invite us to consider our relationship to a past from which we may have become alienated. ‘Trace’ connects ‘lived’ time, the past, with ‘physical’ time, the present. Traces invite us to contemplate the ephemeral quality of time and consider the synergy of time continuum – the connection of past and present – and in so doing compel us to consider the question of the future.
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Enlander, Rebecca Aroon. "Prehistoric rock art and the cultural landscapes of the north of Ireland : a contextual and interpretive study." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601474.
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This thesis presents a comprehensive review of the rock art in the north of Ireland (in the counties of Antrim, Armagh, Cavan, Donegal, Fermanagh, Londonderry, Louth, Meath. Monaghan, Tyrone). Research in this substantial geographic area sought to understand the ways in which rock art responded to the natural landscape and other archaeological remains. Through field survey, a number of new panels were identified, both in areas of known rock art, and in areas were the presence of rock art was likely (in areas of known prehistoric significance and topographically distinct part of the survey area). The positive outcome of the survey element of this research suggests that there is more rock art to be found. A combination of GIS and field observations were used to explore particular aspects of the rock art tradition, with an emphasis on geologically centred themes. The outcome of this analysis has demonstrated the presence of distinct region groups of rock art and discrete centres of carving activity, resonating with the regional variability in mortuary monuments, for instance, across extended areas of Britain and Ireland during the Neolithic. In addition, the importance of geological variability in the biographies of individual rock art surfaces and local landscapes has also been explored. Local time frames for the rock art tradition have been suggested on the basis of chronological evidence and analysis of the passage grave art tradition; a number of potentially connected regions outside of Ireland have also been tentatively explored.
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Hocking, Bryanna Tyece. "The great re-imagining : public art, urban space and the symbolic landscapes of a "new" Northern Ireland." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601657.
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In the nearly 15 years since the Good Friday Agreement, a range of public art initiatives, from small-scale community projects to expensive contemporary installations, have been touted by Northern Irish officials as transformative tools that can contribute to social reconciliation and economic renaissance. This thesis critiques the reimagining of public space across five 'post-conflict' urban landscapes in Belfast and Derry/Londonderry. These landscapes explore the spatialisation of discourses around globalisation, consumption, community, troubled history and culture. Each discourse sheds light on the ways the state has used symbolic elements, specifically public art, to telegraph new images (both real and conceptual) in public space as part of an effort to encourage desired social or economic outcomes. Based on interviews with a range of stakeholders, this thesis draws on a theoretical approach which sees the production of' landscape' as illustrative of broader struggles over identity and power in urban life. As such, it offers qualitative insight into the state's relationship to public space in Northern Ireland, and considers how official discourses have been materialised and contested through the public art process. It suggests that the push to create 'new ' symbolic landscapes has often resulted in civic identikit approaches to urban regeneration, tasked with addressing both post-conflict and postindustrial imperatives. The linking of peace and prosperity discourses in these re-created public spaces has profound implications for the meaning of the built environment and the potential vision of citizenship/subjectivity it foreshadows. At the same time, a relatively weak state has experienced difficulties navigating the treacherous terrain of top-down and bottom-up pressures in urban space as it seeks to attract global capital. The findings presented here indicate an often tenuous link between image production and spatial practice, and also highlight the need for future conflict transformation research to rigorously interrogate official discourses through broad-based, multifactorial approaches.
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Sloan, Johanne. "Millennial landscapes : nature, narrativity, and the legacy of the Paysage Historique in 19th and 20th century art." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264600.
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ANDERSEN, PETER KAERGAARD. "PASSEGGIATE A MARE ~ PATHWAYS OF THE SEA, TEMPORAL AND POETIC ENTANGLEMENT OF COASTAL LANDSCAPES." Doctoral thesis, Università degli studi di Genova, 2022. http://hdl.handle.net/11567/1090109.
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Pathways of the Sea is about thinking and making with water in the encounter
of the coastal mediterranean landscape in Liguria and its multiple non-human and
human agencies and interweavings. The thesis is placed at the crossroads between
heritage, new media technologies, creativity, aesthetics, memory, time and
environment. At the core is a series of artworks in different media: film, installation
and textiles. Poetic and temporal entanglements that hold together differential
perspectives and multispecies becoming in the sensuous capture of landscapes.
The works find companionship with prehistoric molluscs, plants in lost landscapes,
nocturnal moths and moonlight. Wandering through and weaving together archives,
cosmicomic literature, marine biology, naturalist collections, paleolithic graves,
Victorian travel writings, science stories, abandoned swimming pools, industrial
ruins and much more. In doing this, the project turns to modes of worlding the
world through multiple differences inherent in various theoretical perspectives of
feminist, posthumanist, environmental and new materialist studies. In particular, the
project finds solace in water and sea as planes for thinking time, species and matter
as more-than-human inheritances and thinking media practice as an apparatus of
making difference. Pathways of the Sea is performative enactments of heritage
landscapes. Portraying temporal criss-crossings and unfolding narratives where
diverse human and non-human life and time spheres bend into and through each
other. In these acts of landscape entanglement, the thesis opens up a discussion of
how to think heritage as a naturecultural remembrance, a futuring that affirmatively
trouble who we are and what we are to come.
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Stoffle, Richard W., Lawrence L. Loendorf, Diane E. Austin, David B. Halmo, Angelita S. Bulletts, and Brian K. Fulfrost. "Tumpituxwinap (Storied Rocks): Southern Paiute Rock Art in the Colorado River Corridor." Bureau of Applied Research in Anthropology, University of Arizona, 1995. http://hdl.handle.net/10150/279732.
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The Bureau of Reclamation (BOR) is interested in understanding the human and environmental consequences of past Glen Canyon Dam water release policies and using these data to inform future water release and land management policies. One step in this direction is to understand how American Indian people have used the Colorado River and adjoining lands in Glen Canyon and Grand Canyon. The BOR, through its Glen Canyon Environmental Studies (GCES) office, has provided funds for various American Indian groups to identify places and things of cultural significance in the 300 mile long river and canyon ecosystem that has come to be called the Colorado River Corridor. This study is the second to report on the cultural resources of the Southern Paiute people found in this riverine ecosystem.
The rock art study funded by the BOR and managed by the Glen Canyon Environmental Studies (GCES) office is the basis of this report. This study is unique in the history of rock art studies and is unusual when compared with other American Indian cultural resource assessments.
There are five unique features of this study. First, all funds for conducting the research were contracted to the Southern Paiute Consortium. Second, the Southern Paiute people decided during the previous studies that their next study would be about rock art. Third, the GCES /BOR permitted research to be conducted in terms of Paiute perceptions of the study area rather than specifically in terms of the scientifically established study area for the project. Thus, it was possible to conduct the Kanab Creek side canyon study. Fourth, all interviews were guided by a ten -page survey instrument, so Southern Paiute responses could be systematically compared. Fifth, both all-male and all- female research trips were conducted, thus producing the first gender - specific interviews of rock art sites. The resulting study is both interdisciplinary and multivocal.
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Kerr, Tamsin, and na. "Conversations with the bunyip : the idea of the wild in imagining, planning, and celebrating place through metaphor, memoir, mythology, and memory." Griffith University. Griffith School of Environment, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070814.160841.
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What lies beneath Our cultured constructions? The wild lies beneath. The mud and the mad, the bunyip Other, lies beneath. It echoes through our layered metaphors We hear its memories Through animal mythology in wilder places Through emotive imagination of landscape memoir Through mythic archaeologies of object art. Not the Nation, but the land has active influence. In festivals of bioregion, communities re-member its voice. Our creativity goes to what lies beneath. This thesis explores the ways we develop deeper and wilder connections to specific regional and local landscapes using art, festival, mythology and memoir. It argues that we inhabit and understand the specific nature of our locale when we plan space for the non-human and creatively celebrate culture-nature coalitions. A wilder and more active sense of place relies upon community cultural conversations with the mythic, represented in the Australian exemplar of the bunyip. The bunyip acts as a metaphor for the subaltern or hidden culture of a place. The bunyip is land incarnate. No matter how pristine the wilderness or how concrete the urban, every region has its localised bunyip-equivalent that defines, and is shaped by, its community and their environmental relationships. Human/non-human cohabitations might be actively expressed through art and cultural experience to form a wilder, more emotive landscape memoir. This thesis discusses a diverse range of landstories, mythologies, environmental art, and bioregional festivities from around Australasia with a special focus on the Sunshine Coast or Gubbi-Gubbi region. It suggests a subaltern indigenous influence in how we imagine, plan and celebrate place. The cultural discourses of metaphor, memoir, mythology and memory shape land into landscapes. When the metaphor is wild, the memoir celebratory, the mythology animal, the memory creative and complex, our ways of being are ecocentric and grounded. The distinctions between nature and culture become less defined; we become native to country. Our multi-cultured histories are written upon the earth; our community identities shape and are shaped by the land. Together, monsters and festivals remind us of the active land.
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Kerr, Tamsin. "Conversations with the bunyip: the idea of the wild in imagining, planning, and celebrating place through metaphor, memoir, mythology, and memory." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365495.
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What lies beneath Our cultured constructions? The wild lies beneath. The mud and the mad, the bunyip Other, lies beneath. It echoes through our layered metaphors We hear its memories Through animal mythology in wilder places Through emotive imagination of landscape memoir Through mythic archaeologies of object art. Not the Nation, but the land has active influence. In festivals of bioregion, communities re-member its voice. Our creativity goes to what lies beneath. This thesis explores the ways we develop deeper and wilder connections to specific regional and local landscapes using art, festival, mythology and memoir. It argues that we inhabit and understand the specific nature of our locale when we plan space for the non-human and creatively celebrate culture-nature coalitions. A wilder and more active sense of place relies upon community cultural conversations with the mythic, represented in the Australian exemplar of the bunyip. The bunyip acts as a metaphor for the subaltern or hidden culture of a place. The bunyip is land incarnate. No matter how pristine the wilderness or how concrete the urban, every region has its localised bunyip-equivalent that defines, and is shaped by, its community and their environmental relationships. Human/non-human cohabitations might be actively expressed through art and cultural experience to form a wilder, more emotive landscape memoir. This thesis discusses a diverse range of landstories, mythologies, environmental art, and bioregional festivities from around Australasia with a special focus on the Sunshine Coast or Gubbi-Gubbi region. It suggests a subaltern indigenous influence in how we imagine, plan and celebrate place. The cultural discourses of metaphor, memoir, mythology and memory shape land into landscapes. When the metaphor is wild, the memoir celebratory, the mythology animal, the memory creative and complex, our ways of being are ecocentric and grounded. The distinctions between nature and culture become less defined; we become native to country. Our multi-cultured histories are written upon the earth; our community identities shape and are shaped by the land. Together, monsters and festivals remind us of the active land.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith School of Environment
Faculty of Science, Environment, Engineering and Technology
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Tolentino, Felicia. "Porträtt av ett landskap : Vera Friséns gestaltning av naturen i Västerbotten." Doctoral thesis, Umeå University, Department of culture and media studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1622.
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The present dissertation deals with the artistry of the Swedish artist Vera Frisén (1910-1990). The emphasis is being put on her landscape paintings from Västerbotten, in the northern parts of Sweden, but also includes self-portraits from her early years as a painter. Vera Frisén was born in Umeå, but lived more than half her life in Stockholm. During springtime and summer, she did however return to Västerbotten and the vil¬lages of Stöcksjö and Kolksele, where she painted the majority of her landscape paintings.
The study has been given a chronological frame, where the first part sketches out the contexts and environments that came to have an influence on Vera Frisén and her artistic development. Consequently, the thesis starts with a brief biographical presen¬tation, but then moves forward to issues more central to the subject. Important as¬pects are for example her years as a student in the art academy of Otte Sköld in Stockholm during the late 1920’s, and her first separate exhibition at the gallery Färg & Form in 1941. Other issues that are being illuminated in the study are the artistic and cultural conditions in Vera Friséns hometown Umeå. The discussion mainly cen¬ters on issues that took place during the 1930’s and the 1940’s – the time when Vera Frisén established herself as an artist.
The second part of the dissertation includes analyses of Vera Friséns paintings. In the search of concepts that further can explain the more profound existential values in her work, the study also links the themes in her paintings to other painters in the his¬tory of landscape painting. Concepts central for discussion are for example the aes¬tethical and philosophical issue of the sublime, as it is formulated in the discourse of Immanuel Kant during the late 18th century. Thoughts expressed by other artists, writers and philosophers, linked to Vera Friséns own thoughts on the subject, are also valuable instruments in gaining a deeper understanding of her work.
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Brandt, Nicola. "Emerging landscapes : memory, trauma and its afterimage in post-apartheid Namibia and South Africa." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:9dfe7938-670a-40fc-a063-5617c0503fcd.
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Visual records of place remain to a large degree inadequate when attempting to make visible the ephemeral states of consciousness that underlie the damage wrought by brutal regimes, let alone make visible the extraordinary histories and power structures encoded in images and views. This practice-led dissertation examines an emerging critical landscape genre in post-apartheid South Africa and Namibia, and its relationship to specific themes such as identity, belonging, trauma and memory. The landscape genre was traditionally considered inadequate to use in expressions of resistance under apartheid, particularly in the socially conscious and reformist discourse of South African documentary photography. I argue that, as a result of historical and cultural shifts after the demise of apartheid in 1994, a shift in aesthetic and subject matter has occurred, one that has led to a more rigorous and interventionist engagement with the landscape genre. I demonstrate how, after 1994, photographers of the long-established documentary tradition, which was meant to record 'what is there' in a sharp, clear, legible and impartial manner, would continue to draw on devices of the documentary aesthetic, but in a more idiosyncratic way. I show how these post-apartheid, documentary landscapes both disrupt and complicate the conventional expectations involved in converting visual fields into knowledge. I further investigate, through my own experimental documentary work, the ideologically fraught aspects of landscape representation with their links to Calvinist and German Romantic aesthetics. I appropriate and disrupt certain tropes still prevalent in popular landscape depictions. I do this in an effort to reveal the complex and troubled relationship that these traditions share with issues of willed historical amnesia and recognition in contemporary Namibia. Through my practice and the examination of other photographers' and artists' work, this project aims to further a self-reflective and critical approach to the genre of landscape and issues of identity in post-apartheid South Africa and Namibia.
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Norris, Jessica R. "FOOD LANDSCAPES: A CASE STUDY OF A COOKING AND ART- FOCUSED PROGRAM FOR TEENS LIVING IN A FOOD DESERT." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3575.
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This study constructs themes and propositions about the experiences of youth participants in the fall 2013 Food Landscapes program at the Neighborhood Resource Center in Richmond, Virginia. During the program, youth participated in cooking-based volunteerism with adults with disabilities and created short videos about their experiences. In this study, I analyzed pre- and post-program participant interviews, twice-weekly program observations, and facilitator reflections to understand how Food Landscapes affected youths’ conception of community engagement and communication strategies. This case study offers insight into how youth experience after-school programming of this design. Based on my findings, youth develop and rely upon a sense of togetherness in out-of-school programs. Togetherness as a bridge to commitment strengthens participation. Individually, youth need to form personal connections to and/or empathy with the content areas of the program in order to derive meaning, critically reflect, and problem solve. Furthermore, the youth articulated their perceptions of the community and the program by developing, organizing, and voicing their ideas of cooking/food, volunteering, and art making. By sharing research about the experiences of youth in after-school programming, organizations and educators can better construct, facilitate, and sustain youth participation and engagement.
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Brown, Brittany. "Ancestral Landscapes: a Study of Historical Black Cemeteries and Contemporary Practices of Commemoration Among African Americans in Duval County, Jacksonville, Fl." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1550154005.
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The end of slavery in North America presented an opportunity for African Americans in Jacksonville, Florida to reinvent themselves. The reconstruction era brought about new social, political, and economic opportunities for African Americans living in Jacksonville. Despite the failure of Reconstruction and the implementation of Jim Crow, Jacksonville gave birth to a vibrant African American aristocracy. Jacksonville's Black elite comprised of doctors, lawyers, morticians, religious leaders, business people and other professionals. Jacksonville's Black elite thrived in the early half of the twentieth century, many of them used their knowledge and skills to contribute to the social and economic development of Jacksonville's African American community. During this period, Jacksonville's African American aristocracy provided their community with legal protection, healthcare, vocational training, employment opportunities, goods, and other critical services such as life insurance and burial. This study centers on a historical African American cemetery cluster that was established during the early twentieth century by Jacksonville's Black aristocrats. This cemetery cluster consists of four cemeteries which include: Pinehurst, Mount Olive, Sunset Memorial, and Memorial. This cluster is located on the Northside of Jacksonville city, along the intersecting roads of 45th street and Moncrief road, and contains an estimated 70,000 African American burials. I argue that this cemetery is reflective of the social, political, and economic changes undergone by Jacksonville's African American community.
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Stretch, Eleanor Eunice, and mikewood@deakin edu au. "Using site as the medium of image-making at Tower Hill." Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.144857.
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Pendle, Naomi Ruth. "Laws, landscapes and prophecy : the art of remaking regimes of lethal violence amongst the western Nuer and Dinka (South Sudan)." Thesis, London School of Economics and Political Science (University of London), 2017. http://etheses.lse.ac.uk/3616/.
Full textAbstract:
This thesis is a collection of ethnographic studies of ways in which governments and other public authorities amongst the western Dinka and Nuer (South Sudan) have directly or indirectly remade the moral boundaries of lethal violence during times of war and peace. The thesis goes beyond discussing the causes of specific national episodes of armed conflict in South Sudan but instead pays attention to the normative regimes of lethal violence that span across times of war and peace. I echo those who have challenged the assumption of a rupture between times of war and peace, and additionally assert that normative and legal regimes made during times of ‘peace’ can shape modes and patterns of war. The thesis argues that governments, chiefs and Nuer prophets have all tried to build their own authority through their governance of the moral, legal and spiritual consequences of lethal violence. Different public authorities have contested and coopted each other’s regimes. Governments, chiefs and Nuer prophets have played powerful but contrasting roles in interpreting and remaking the moral and legal limits of lethal violence. The thesis specifically looks at the examples of the remaking of landscapes and laws as ways in which moral boundaries have been reshaped and materially embedded. The doctorate focuses on the tumultuous 2005 – 2015 period, but also draws on histories dating back to the 19th Century.
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Thomson, Amanda Repo Taiwo. "In the forest, field and studio : art/making/methodology and the more-than-written in the rendering of place." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=201732.
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This is an interdisciplinary arts practice based PhD that incorporates fieldwork into its exploration of Abernethy Forest in Cairngorms National Park, and Culbin Forest in Morayshire, Scotland. The thesis explores how a contemporary arts practice can articulate a place’s multi-layered complexities and how processes of coming to know influence and impact on the kinds of artworks created. This way of working incorporates an innovative approach that draws on geographical, anthropological, historical and ecological sources, and includes the synthesis of a contemporary arts practice with an ethnographic element - more specifically participant observation, with foresters, ecologists and others - as a mode of gathering. Description and examination of encounters in the field give context to the artwork and provide additional knowledge that lends insight into management practices and the knowledge that these workers possess. The research constitutes an original contribution to investigations of the forests of Culbin and Abernethy and correspondingly innovative outputs. This research proposes that a contemporary arts practice can articulate and communicate aspects and elements of place in ways that offer insights to artists, geographers, anthropologists and others. Central to this is the idea that places are multi-layered, everchanging, embodied, active and containing complex ecological, sensorial and physical histories and presences. Communicating these understandings requires a multi-faceted way of working and multi-modal ways of articulation in recognition of place as an experiential field of investigation. The art produced forms a non-linear, multi-stranded body of work that emphasises the benefits of multiple formats within an arts practice. The thesis enhances and further complicates conceptualisations of place that in geography and anthropology are often restricted to academic writing and demonstrates how artists and others can usefully enlarge and expand the ways in which places can be articulated and rendered.
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Moran, Mallory Leigh. ""Mehtaqtek, Where The Path Comes To An End": Documenting Cultural Landscapes Of Movement In Wolastoqiyik (Maliseet) First Nation Territory In New Brunswick, Canada, And Maine, United States." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1593091534.
Full textAbstract:
The Saint John River emerges from tributaries in the highlands of the state of Maine, arcs north and east into the province of New Brunswick, then winds southward, through vast marshlands, before it empties into the Bay of Fundy. For part of its journey, it forms the international border between Canada and the United States. This river, the Wolastoq, and its large drainage basin and tributaries, forms the heart of the homelands of the Wolastoqiyik (Maliseet) First Nation. For many hundreds of years before contact with Europeans, and well into the 19th century, the Wolastoqiyik navigated the land- and waterscapes of Wolastokuk, developing a suite of sophisticated watercraft technologies, as well as wayfinding techniques. These movement practices have left a legacy in the landscape, apparent on historic maps in placenames, and evident archaeologically in the remains of portage routes. Portages, trails or roads over which canoes and goods would be carried, connected stretches of navigable water along the coast and between interior rivers. These trails permitted travel in any direction across the Maritime Peninsula. This network of portages and waterways constitutes a cultural landscape that reflects the movement of Wolastoq'kew people over generations. Interpreting the archaeological signatures left by traditionally mobile peoples remains a challenge for archaeologists. Trails and roads, while representing an opportunity to observe movement in the archaeological record, challenge traditional notions of the site with their large spatial scales and linear, networked forms. Portages, which shifted locations according to seasons and water conditions, add an additional layer of complexity. New interpretive frameworks are needed that account for the way Wolastoq'kew people have understood and navigated this landscape. This dissertation addresses this problem by investigating how ideas about landscape and wayfinding are retained in and expressed through Passamaquoddy-Maliseet, the Algonquian language spoken by Wolastoqiyik. It aggregates and assesses a corpus of historic toponyms first collected at the turn of the 20th century, just as canoe travel was beginning to decline, by three scholars working in Maine and New Brunswick: Edwin Tappan Adney, Fannie Hardy Eckstorm, and William Francis Ganong. Passamaquoddy-Maliseet toponyms are richly descriptive, reflecting a detailed ecological and geographic knowledge of Wolastokuk, its seasons, tides, and flows. In addition, the toponym corpus describes an understanding of the landscape that is connected to movement through it, from the perspective of a person out on the water. This dissertation demonstrates the value of turning to language to better understand the Wolastoqwey landscape, and contributes to broader anthropological conversations about the relationship between human practice and landscape conceptualization.