Bibliografías temáticas / Landscape in art

Literatura académica sobre el tema "Landscape in art"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Landscape in art"

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Faison, Edward K. "Seeing the Landscape in Landscape Art". Arnoldia 73, n.º 2 (2015): 2–18. http://dx.doi.org/10.5962/p.251219.

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Zhang, Yuanhang. "The Application of Earth Art in the Landscape Design of Public Space". Highlights in Art and Design 2, n.º 1 (20 de febrero de 2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i1.5324.

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The modern landscape design trend that emerged in the background of the times is a product of the continuous development of social politics, economy and As one of the more unusual ideas in modern landscape design, Earth Art was born in the wilderness in the early stages of its development and was subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earth. subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earthy landscape environment gradually took Earth art attempts to reclaim nature as a space for experience, as a space for reconstructing Earth art attempts to reclaim nature as a space for experience, as a space for reconstructing the relationship between people and the environment, and in some ways it has become an approach that can be drawn upon to develop a new language for the This thesis takes the geodesic landscape as the object of study and establishes an aesthetic paradigm for the landscape based on the study consists of three levels of the aesthetic paradigm for the landscape: the first level of the aesthetic nature of the geodesic art landscape (the first level of the aesthetic nature of the landscape) and the first level of the aesthetic nature of the landscape. the first level of the aesthetic nature of the geodesic art landscape (value theory), the second level of the aesthetic scope of the geodesic art landscape (methodology), and the third level of the third level of the aesthetic form of the geodesic art landscape (design approach). Through the study of the aesthetic thought of geodesic landscapes, a deeper understanding of geodesic landscapes will be enhanced and a reference By clarifying the aesthetic thinking of contemporary landscape development, it will enable a better By clarifying the aesthetic thinking of contemporary landscape development, it will enable a better integration of modern western landscape design thinking with China's local environment and provide a theoretical basis for China's urban landscape The thesis uses both documentary research methods and case studies to analyse and study three aspects of the aesthetic nature, The thesis uses both documentary research methods and case studies to analyse and study three aspects of the aesthetic nature, aesthetic categories and aesthetic forms of earth art landscapes.
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F. Nunes, Israel y Lucia Maria S. A. Costa. "Paisagem Experimental:". Revista Prumo 4, n.º 7 (15 de noviembre de 2019): 152–65. http://dx.doi.org/10.24168/revistaprumo.v4i7.1127.

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The links among public space, landscape, and contemporary art are the central theme of this paper. In shaping a landscape design essay for a public park on a silted waterfront in the city of Ilhéus - BA, Brazil, dynamic alter-natives are introduced for the renovation of the public space, based upon the diversification of common uses. The purpose is to build a connection between landscape and art through the re-signification of the natural and cultural processes of the specific site, which may promote a new collective sense of place. The work presents as its theoretical support studies that look at the landscape from its active aspect and discuss the extended field of contemporary art. The paper concludes stressing the importance of the active role of landscape architecture in urban places reconfiguration. Key-Words: Landscape architecture, Urban park, Contemporary Art
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Muller, Stephanus. "Apartheid Aesthetics and Insignificant Art". Journal of Musicology 33, n.º 1 (1 de enero de 2016): 45–69. http://dx.doi.org/10.1525/jm.2016.33.1.45.

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Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were famously sung all over the world by the soprano Mimi Coertse. The role his ouevre played in the construction of a so-called European culture in Africa is uncontested. Yet surprisingly little attention has been paid to the rich evocations of landscape encountered in Marais’s work. Contextualized by a selection of Marais’s paintings, this article glosses the index of landscape in this body of cultural production. The prevalence of landscape in Marais’s work and the range of its expression contribute novel perspectives to understanding colonial constructions of the twentieth-century South African landscape. Like the vast, empty, and ancient landscape of the Karoo, where Marais lived during the last decades of his life, his music assumes specificity not through efforts to prioritize individual expression, but through the distinct absence of such efforts. Listening for landscape in Marais’s songs, one encounters the embrace of generic musical conventions as a condition for the construction of a particular national identity. Colonial white landscape, Marais’s work seems to suggest, is deprived of a compelling musical aesthetic by its very embrace and desired possession of that landscape.
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Benedict, Jessieca Joseph, Mohd Fazli Othman, Syed Zamzur Akasah Syed Ahmed Jalaluddin y Rafeah Legino. "The Spirituality of Papar Landscape". Environment-Behaviour Proceedings Journal 7, SI9 (10 de octubre de 2022): 75–79. http://dx.doi.org/10.21834/ebpj.v7isi9.3941.

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Art's function has allowed artists to express themselves for centuries. Art was once created solely for religious reasons, especially with the rise of the Catholic Church. The Industrial Revolution and the church's declining influence in the 19th century opened people's eyes to emotion and imagination, which Romanticists later portrayed artistically. This led to nature mysticism and landscape paintings. Similarly, St. Ignatius' Ignatian Spirituality corresponds to the divine yearning in nature. Spirituality and art can go hand in hand, say Jesuit priest-artists. Mystical landscapes reveal humanity's spiritual connection to nature. Artists explore emotion and spirituality through monochromatic art because it can provoke deeply personal experiences My art explores landscape's spirituality. I like how it evokes spirituality, longing, and comfort. Keywords: Spirituality; Papar Landscape eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3941
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Balm, Roger y Malcolm Andrews. "Landscape and Western Art". Geographical Review 90, n.º 4 (octubre de 2000): 649. http://dx.doi.org/10.2307/3250790.

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Crawford, Alistair. "Landscape photography as art". Landscape Research 17, n.º 1 (marzo de 1992): 2–8. http://dx.doi.org/10.1080/01426399208706351.

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Moignard, Elizabeth. "LANDSCAPE IN GREEK ART". Classical Review 53, n.º 2 (octubre de 2003): 452–54. http://dx.doi.org/10.1093/cr/53.2.452.

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Джанджугазова, Елена y Elena Dzhandzhugazova. "Area of Russian landscape". Service & Tourism: Current Challenges 8, n.º 1 (31 de marzo de 2014): 83–88. http://dx.doi.org/10.12737/3411.

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The article considers evaluation of esthetic characteristics of landscape on the basis of the best examples of Russian landscape pictorial art. The author offers readers to analyse and evaluate landscape scenes representing story line of popular Polenov´s landscapes.
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Lu, Sa. "The Ideological Foundations of Chinese Traditional Landscape Painting Art". Философия и культура, n.º 10 (octubre de 2022): 144–57. http://dx.doi.org/10.7256/2454-0757.2022.10.38818.

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The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.
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Tesis sobre el tema "Landscape 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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Sleeman, Alison Joy. "Landscape and land art". Thesis, University of Leeds, 1995. http://etheses.whiterose.ac.uk/15211/.

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Landscape and Land Art focuses on so-called ‘Land Art' in Britain in the period from the mid-1960s to the present day. The dissertation concentrates particularly on Richard Long who, it is argued, functions as the definitive index of British Land Art. Land Art Beginning investigates how Land Art's earliest instances have shaped its subsequent discourse and introduces the methodological approaches employed in the dissertation. Land Art is then studied through a series of frames or milieus in the following chapters. Land Art Sculpture defends the necessity of viewing Land Art in the context of the practice and theory of sculpture. Land Art Repetition examines repetition as one of the most prevalent and informing strategies of Land Art practice and theory. Land Art Body focuses on one of the most overlooked and yet crucial components of Land Art, the body. Through identifying and delineating the different kinds of bodies and representations of bodies included in (and excluded from) Land Art discourse and practice, this chapter considers the ways in which the body has been suppressed in Land Art and the possibilities for a bodily re-engagement. Land Art Landscape views critically the landscape aspect of British Land Art which serves to link it to past art and particularly to a British 'Landscape Tradition'. The final chapter considers Land Art in relation to gardening and laughter through the construct of the ha-ha. The dissertation thus ends on a humorous note, but also an intensely serious one. Laughter and humour are powerful strategies against the most resistant orthodoxy, and British Land Art is perhaps best characterised in that way, as an orthodoxy, a dogma or an institution. This study aims to uncover and reveal the ways in which that orthodoxy has been constructed and is sustained, offering along the way some suggestions as to how it might be construed otherwise.
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Fiedor, Edward J. "Environmental art in the landscape". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230602.

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An effort to understand the basic contextual foundation of environmental art design in relation to site-specific context. As a result of this understanding, environmental artwork designs will be developed based upon the context of chosen sites on the Ball State University's campus with a view toward the development of greater visual literacy. The work effort includes a preliminary exploration of the methods and approaches followed by contemporary designers (including artists, landscape architects, landscape designers, and architects) in the design and execution of environmental art works that have a contextual relationship to a site. This exploration focuses upon Post World War II outdoor installations intended for public viewing and/or interaction. Context of Project WorkThe first step consists of information gathering about professional designers, including landscape architects, artists, landscape designers, and architects, who design outdoor environmental artworks based upon the context of a site. This information will include literature search, site visits, case studies, and possible interviews with designers.This information will then be distilled into sketch designs of environmental art pieces that can be sited on the Ball State University's campus. The designs produced for the artworks will be based upon the information gathered about various designers with attention to the preservation of the stylistic influences from the artists while deleting the possibility of repetition of previous artworks.The work of research on artists and projects will result in an expanded knowledge base from which a group of three or four designers will be selected to serve as exemplars or a case study foundation for the design effort.It is expected that the entire effort will serve as a model of an apprenticeship in outdoor art and site design for a non-art major pursuing a Master of Landscape Architecture degree. In addition, the work effort will serve to promote visual literacy in the Ball State University campus as well as to provide suggestions for physical designers on the placement and execution of site specific outdoor art.
Department of Landscape Architecture
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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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Sin, Ka-ki. "Narrator-public art landscape regeneration strategy /". View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34609659.

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Sin, Ka-ki y 冼家琪. "Narrator-public art landscape regeneration strategy". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009661.

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Harris, Elizabeth. "Transparent landscape". PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3407.

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Rhode, John C. "The inner landscape". Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53300.

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Hays, Dan. "Screen as landscape". Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/24599/.

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People have become accustomed to living with - and inside of - the media screen. Not just in the cinema or living room, but more pervasively with mobile telephones, advertising hoardings, and computer interfaces. It has infiltrated the art gallery, its high definition, contrast ratio and immersive scale tending to blind the audience to its mediating presence. And what about the genre of landscape today, beyond the latest BBC wildlife spectacular, computer simulated Hollywood blockbuster, video game or Google Earth? As the screen populates the cultural landscape, and increasingly mediates between the actual landscape and humanity, where are the points of contemporary artistic reflection on - or resistance to - the screen's increasing ubiquity and transparency? The thesis comprises three components to be taken as a whole: Screen as landscape, an exhibition of seven paintings; Touch screen, documenting the development of practical research; and Screen as Landscape, a dissertation examining contemporary artworks across a diversity of media, including film, photography, printmaking, painting, and computer-generated imagery. Supplementing these, a Guide book offers an overview of the thesis: its origins in an established practice; its developing themes and research methods, emerging out of making and writing; its resolution into three interrelated parts; and its distinctiveness within a range of recent curatorial projects. Echoing the landscape theme, the thesis takes a journeying form rather than being fixed in a specific geographic, art-historical, or theoretical situation. Landscape is salvaged as a live genre for visual art, as a web of interrelated perceptual and symbolic forms that are insistently present. This is despite landscape's annexation as an art-historical anachronism after Post-Impressionism, ripe for nostalgia and parody; its default appearance as seamless photographed or simulated backdrop to fantasies of wilderness and escape; or as a cartographic plane for the projection of information and ideas of control, containment, or exploitation. Landscape is an idea born of familiarity and estrangement, with which artistic interventions with screen technology can actually offer insights. Through its apparatuses - its obstructive lenses and artificial surfaces - the screen can reveal forms of imaging analogous to - yet not identical with - the perceptual and cultural formation of landscape, between experiences of nearness and distance, presence and absence, discovery and loss. Screen as landscape proposes an inter-medial approach, describing a field of contemporary concerns with potent art-historical resonances, harbouring essential questions about human subjectivity in the face of the screen's replacement of landscape with depthless surfaces. For the screen interface threatens subjectivity through the fluid integration of perspectival viewpoints, textual or graphical information, and networked interconnectivity. Through the immediacy of spatial and temporal proximities, and the replacement of physical location by virtual access points, the dimension of depth is increasingly lost to perception. The screen must be landscaped to counter the screening of the landscape - the supplanting of atmospheric, ambiguous, and multisensory encounter. Against the backdrop of cyberspace, it fathomless depths and infinity of virtual frames, Screen as landscape performs a bold or foolhardy attempt on the sheer, inhuman edifice of the screen.
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von, Wiedersperg Carolina Sophie. "Kyoto art in nature habitat /". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.

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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.
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Libros sobre el tema "Landscape in art"

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Bye, A. E. Art into landscape, landscape into art. 2a ed. Mesa, Ariz: PDA Publishers Corp., 1988.

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Francisco, Asensio Cerver y López Pavón Francisco, eds. Landscape art. Barcelona: [s.n.], 1995.

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Steven, Adams y Robins Anna Gruetzner, eds. Gendering landscape art. Manchester: Manchester University Press, 2000.

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L, Anagnostopoulos G., International Federation of Landscape Architects., Panhellenic Association of Landscape Architects. y Panayotis & Effie Michelis Foundation., eds. Art and landscape. Athens: Panayotis and Effie Michelis Foundation, 2001.

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Patrick, Keiller, ed. Landscape. London: British Council, 2000.

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Ziady, DeLue Rachael y Elkins James 1955-, eds. Landscape theory. New York: Routledge, 2007.

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Appleton, Jay. The experience of landscape. Chichester: Wiley, 1996.

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Appleton, Jay. The experience of landscape. Hull: Hull University Press, 1986.

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Matsenko, Natalia, Iben From y Faye Dowling. Unfolding landscapes: Landscape and poetics in contemporary Ukrainian art. Editado por Kunstcentret Silkeborg Bad. Silkeborg: Kunstcentret Silkeborg Bad, 2022.

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Dixon, Hunt John, Center for Advanced Study in the Visual Arts (U.S.), National Gallery of Art (U.S.) y University of Maryland at College Park. Center for Renaissance and Baroque Studies., eds. The Pastoral landscape. Washington: National Gallery of Art, 1992.

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Capítulos de libros sobre el tema "Landscape in art"

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Williamson, Tom. "Landscape into Art". En A Companion to British Art, 373–96. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch16.

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Sturman, Peter C. "Landscape". En A Companion to Chinese Art, 177–94. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch8.

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Werle, Kerstin J. S. "Art, Science and Landscape". En Landscape of Peace, 96–99. Wiesbaden: Springer Fachmedien Wiesbaden, 2014. http://dx.doi.org/10.1007/978-3-658-05832-6_17.

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Dümpelmann, Sonja. "Landscape Gardening, Outdoor Art, and Landscape Architecture". En The Routledge Handbook of Landscape Architecture Education, 121–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003212645-15.

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Hughes, Thomas. "The Human Landscape". En British Art and the Environment, 182–97. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003099215-15.

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Howes, Jennifer. "Landscape and imperialism". En The Art of a Corporation, 51–77. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003379515-3.

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Pollock, Venda Louise. "Land, art". En The Routledge Companion to Landscape Studies, 215–26. Second edition. | Milton Park, Abingdon, Oxon ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315195063-17.

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Repetto, Diego y Fabrizio Aimar. "The Fifth Landscape: Art in the Contemporary Landscape". En Lecture Notes in Civil Engineering, 683–706. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-59743-6_32.

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Wang, Keping. "The Art of Painting Landscape". En Beauty and Human Existence in Chinese Philosophy, 231–49. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_10.

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Arnold, Dana. "Landscape and National Identity". En A Companion to British Art, 422–48. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch18.

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Actas de conferencias sobre el tema "Landscape in art"

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Yakovlev, A. I. y N. I. Neobutova. "ART OBJECTS IN THE SYMBOLIC LANDSCAPE OF YAKUTSK". En Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/35.

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The work revealed the chronology of development of symbolic landscapes in the form of monuments, art objects and other. The purpose of the article is to analyze the meaning of symbols and form the answer to the question “How does the symbolic cultural landscape affect the public consciousness, the education of society?”. The object of the study is the city of Yakutsk, Republic of Sakha (Yakutia). The subject of research - monuments, art objects. The relevance of this article is due to the fact that each stage as a whole unites other symbolic landscapes under one symbol. Research methodology is based on the analysis of basic semiotic approaches, in particular the study of monuments as the formation of collective memory.
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Han, Yoon Chung, Seong-Lyun Kim y Hung Tsai. "Plastic Landscape - The Reversible World". En SA Art Gallery '23: ACM SIGGRAPH Asia 2023 Art Gallery. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3610537.3622949.

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Bangert, Colette y Charles Bangert. "Large landscape". En ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281544.

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Ning, Tao. "Landscape Accessories in the Landscape Design of the Environmental Art". En 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.87.

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Yang, Xuelan. "Landscape Art in Chinese Buddhist Temples". En 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.61.

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Cruz, Tiago, Fernando Faria Paulino y Mirian Nogueira Tavares. "The Landscape in Digital Media Art". En ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359896.

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Zhang, Jun, Qiu-wen Shi y Ning Wu. "Ecological art research on landscape architecture". En 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5374890.

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Tan, Ran. "Ecological Aesthetics in Olmsted’s Landscape Art". En 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.024.

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Nikolovska, Lira y Lorna Goulden. "A landscape of 3D-printed skyscrapers". En ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400396.

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Tan, Ying. "From “landscape in circle”". En ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281503.

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Informes sobre el tema "Landscape in art"

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O'Rourke, Stephanie y Garry MacKenzie. How landscape art can help us think about climate change. Editado por Sarah Bennison y Laura Pels Ferra. St Andrews Network for Climate, Energy, Environment and Sustainability (STACEES), 2021. http://dx.doi.org/10.15664/10023.24200.

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Nyman, Matt, Nancy Staus y Martin Storksdieck. Science and Art Teaching Practices for Oregon Elementary Teachers: Results of a Landscape Survey. Oregon State University, septiembre de 2023. http://dx.doi.org/10.5399/osu/1163.

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An Evaluation Report for the Oregon Department of Education. In collaboration with classroom teachers and WRAP personnel we developed and implemented a survey to collect baseline data on the science and arts teaching practices for ALL elementary teachers. This included “regular” classroom teachers (those teachers with an assigned physical classroom and set of students), art teachers, music teachers, PE teachers and other educators or administrators. In December 2022 we recruited three (3) elementary teachers to assist us in survey development, in particular framing questions around frequency of teaching time for both arts and science instruction. One important outcome was that we formulated questions around “dedicated” teaching time where instruction was only focused on science or art content and “integrated” teaching when teachers combine science or art with other instructional areas (such as math or literacy). We also learned that there was a lot of nuances in trying to capture the science and art teaching data; for example, some schools have large blocks of time when they have a particular focus on a science content area and then equally large blocks when science teaching is replaced by instruction in other fields, such as social science. It can be difficult to reduce this instructional framework to a weekly allotment of science teaching.
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Tooker, Megan y Adam Smith. Historic landscape management plan for the Fort Huachuca Historic District National Historic Landmark and supplemental areas. Engineer Research and Development Center (U.S.), junio de 2021. http://dx.doi.org/10.21079/11681/41025.

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The U.S. Congress codified the National Historic Preservation Act of 1966 (NHPA) to provide guidelines and requirements for preserving tangible elements of our nation’s past. This preservation was done primarily through creation of the National Register of Historic Places (NRHP), which contains requirements for federal agencies to address, inventory, and evaluate their cultural resources, and to determine the effect of federal undertakings on properties deemed eligible or potentially eligible for the NRHP. This work inventoried and evaluated the historic landscapes within the National Landmark District at Fort Huachuca, Arizona. A historic landscape context was developed; an inventory of all landscapes and landscape features within the historic district was completed; and these landscapes and features were evaluated using methods established in the Guidelines for Identifying and Evaluating Historic Military Landscapes (ERDC-CERL 2008) and their significance and integrity were determined. Photographic and historic documentation was completed for significant landscapes. Lastly, general management recommendations were provided to help preserve and/or protect these resources in the future.
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Nishi, Makiko y Suneetha M. Subramanian. Landscape Approaches to Ecosystem Restoration: Lessons Learned from Managing Socio-Ecological Production Landscapes Seascapes. United Nations University Institute for the Advanced Study of Sustainability, octubre de 2023. http://dx.doi.org/10.53326/svih2509.

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Landscape approaches help to effectively facilitate ecosystem restoration for the benefit of people and nature, by leveraging Indigenous and local knowledge and enhancing context-specific cooperation between stakeholders. The process of applying landscape approaches to ecosystem restoration should be multi-lateral, iterative and inclusive. It needs to be navigated by communicating and interacting with stakeholders across different sectors and levels. Recommendations: (i) start at the landscape or seascape scale to identify and mobilize local resources and capacities for long-term restoration efforts; (ii) promote peer learning and knowledge sharing to develop integrated solutions for restoration and sustainable development, and upscale them for broader impact; (iii) institutionalize local restoration efforts as part of coherent policies and frameworks to facilitate systemic change in human–nature interactions.
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Balbach, Harold E., William D. Goran y Anthony R. Latino. The Military Landscape: Why US Military Installations Are Located Where They Are. Fort Belvoir, VA: Defense Technical Information Center, marzo de 2011. http://dx.doi.org/10.21236/ada559000.

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Phuong, Vu Tan, Nguyen Van Truong, Do Trong Hoan, Hoang Nguyen Viet Hoa y Nguyen Duy Khanh. Understanding tree-cover transitions, drivers and stakeholders’ perspectives for effective landscape governance: a case study of Chieng Yen Commune, Son La Province, Viet Nam. World Agroforestry, 2021. http://dx.doi.org/10.5716/wp21023.pdf.

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Integrated landscape management for sustainable livelihoods and positive environmental outcomes has been desired by many developing countries, especially for mountainous areas where agricultural activities, if not well managed, will likely degrade vulnerable landscapes. This research was an attempt to characterize the landscape in Chieng Yen Commune, Son La Province in Northwest Viet Nam to generate knowledge and understanding of local conditions and to propose a workable governance mechanism to sustainably manage the landscape. ICRAF, together with national partners — Vietnamese Academy of Forest Sciences, Soil and Fertilizer Research Institute — and local partners — Son La Department of Agriculture and Rural Development, Son La Department of Natural Resources and Environment, Chieng Yen Commune People’s Committee — conducted rapid assessments in the landscape, including land-use mapping, land-use characterization, a household survey and participatory landscape assessment using an ecosystem services framework. We found that the landscape and peoples’ livelihoods are at risk from the continuous degradation of forest and agricultural land, and declining productivity, ecosystem conditions and services. Half of households live below the poverty line with insufficient agricultural production for subsistence. Unsustainable agricultural practices and other livelihood activities are causing more damage to the forest. Meanwhile, existing forest and landscape governance mechanisms are generally not inclusive of local community engagement. Initial recommendations are provided, including further assessment to address current knowledge gaps.
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Hunter, Fraser y Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, septiembre de 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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Chitale, Vishwas y Janita Gurung. Harmonizing the vegetation classification of Kailash Sacred Landscape - Working paper. International Centre for Integrated Mountain Development (ICIMOD), abril de 2022. http://dx.doi.org/10.53055/icimod.1004.

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This paper is the collective effort of ICIMOD and partners to harmonize the vegetation classification of the Kailash Sacred Landscape. The vegetation map was prepared using field data, satellite data, and inputs from experts and partner institutions in China, India, and Nepal. The map provides information on the geographic extent, area coverage, and species composition of 14 vegetation and six land use-land cover types. The information can be used to enhance decision making for ecosystem management in the landscape. Additionally, the methods used in this study are dynamic and could be easily applied to other landscapes in the Hindu Kush Himalaya.
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Nishi, Maiko, Suneetha M. Subramanian y Philip Varghese. Sustainable Business Practices for Biodiversity: Leveraging Landscape Approaches. United Nations University Institute for the Advanced Study of Sustainability, junio de 2024. http://dx.doi.org/10.53326/fano9491.

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Drawing from first-hand experiences managing productive landscapes and seascapes, this brief provides insights on how landscape approaches can promote biodiversity-friendly business through local stewardship, cross-level collaboration and peer learning. Landscape approaches are collaborative strategies that promote biodiversity-friendly business practices. These approaches involve diverse stakeholders, such as local communities and other actors along the value chain, working together at a landscape or seascape scale. Leveraging landscape approaches to advance sustainable business practices for biodiversity is an iterative process, involving adaptation and course correction to accommodate diverse needs and interests among stakeholders. This enhances collaboration across and beyond a value chain. These approaches also capitalize on traditional knowledge, which has been embodied through augmenting local experiences and wisdom to help integrate different knowledge systems that are complementary, creating new business opportunities for biodiversity-friendly innovation. Recommendations: (i) Bolster local stewardship to build and pursue a common vision with enhanced recognition of the livelihood and business values of biodiversity; (ii) Institutionalize a participatory approach to cross-level collaboration that incorporates review and monitoring and capacity development elements; and (iii) Promote biodiversity elements in education and peer-learning to mainstream biodiversity in business in alignment with global policy goals for sustainability.
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Phuong, Vu Tan, Nguyen Van Truong y Do Trong Hoan. Commune-level institutional arrangements and monitoring framework for integrated tree-based landscape management. World Agroforestry, 2021. http://dx.doi.org/10.5716/wp21024.pdf.

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Governance is a difficult task in the context of achieving landscape multifunctionality owing to the multiplicity of stakeholders, institutions, scale and ecosystem services: the ‘many-multiple’ (Cockburn et al 2018). Governing and managing the physical landscape and the actors in the landscape requires intensive knowledge and good planning systems. Land-use planning is a powerful instrument in landscape governance because it directly guides how actors will intervene in the physical landscape (land use) to gain commonly desired value. It is essential for sustaining rural landscapes and improving the livelihoods of rural communities (Bourgoin and Castella 2011, Bourgoin et al 2012, Rydin 1998), ensuring landscape multifunctionality (Nelson et al 2009, Reyers et al 2012) and enhancing efficiency in carbon sequestration, in particular (Bourgoin et al 2013, Cathcart et al 2007). It is also considered critical to the successful implementation of land-based climate mitigation, such as under Nationally Determined Contributions (NDCs), because the Land Use, Land-Use Change and Forestry (LULUCF) sector is included in the mitigation contributions of nearly 90 percent of countries in Sub-Saharan and Southern Asia countries and in the Latin American and Caribbean regions (FAO 2016). Viet Nam has been implementing its NDC, which includes forestry and land-based mitigation options under the LULUCF sector. The contribution of the sector to committed national emission reduction is significant and cost-effective compared with other sectors. In addition to achieving emission reduction targets, implementation of forestry and land-based mitigation options has the highest benefits for social-economic development and achieving the Sustainable Development Goals (MONRE 2020). Challenges, however, lie in the way national priorities and targets are translated into sub-national delivery plans and the way sub-national actors are brought together in orchestration (Hsu et al 2019) in a context where the legal framework for climate-change mitigation is elaborated at national rather than sub-national levels and coordination between government bodies and among stakeholders is generally ineffective (UNDP 2018). In many developing countries, conventional ‘top–down’, centralized land-use planning approaches have been widely practised, with very little success, a result of a lack of flexibility in adapting local peculiarities (Amler et al 1999, Ducourtieux et al 2005, Kauzeni et al 1993). In forest–agriculture mosaic landscapes, the fundamental question is how land-use planning can best conserve forest and agricultural land, both as sources of economic income and environmental services (O’Farrell and Anderson 2010). This paper provides guidance on monitoring integrated tree-based landscape management at commune level, based on the current legal framework related to natural resource management (land and forest) and the requirements of national green-growth development and assessment of land uses in two communes in Dien Bien and Son La provinces. The concept of integrated tree based landscape management in Viet Nam is still new and should be further developed for wider application across levels.
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