This article deals with the fight between the river Trebia and Scipio the Elder in Silius Italicus’ Punica (4.525–703), notoriously based on the Homeric battle between Achilles and Scamander (Il. 21.1–382). By means of a close reading of the geographical details of Silius’ account, this article aims at highlighting the peculiar role given to the landscape in this episode. By intertwining well-established epic topoi and historiographical reflections, the poet imbues Italy's landscape with a profound ideological meaning. His depiction (...) of the natural environment thematizes key issues relating to the Second Punic War, such as the disruptive effects of Hannibal's invasion on the bond between Italian communities, the problematic nature of shared Italian identity, and the contagious nature of rebellion. (shrink)

A popular if controversial claim, and troublesome for environmental philosophy, ethics, and related disciplines, is that “there is no such thing as nature.” The social constructionist version of this claim makes it difficult to draw a distinction between human and nonhuman nature. In response, first, the concept of landscape can be helpful in drawing this distinction. Second, taking this approach is consistent with at least one interpretation of Richard Rorty’s neopragmatism. Constructionism can be divided into two forms: moderate and (...) radical. Moderate constructionism allows the landscape/nature distinction; radical constructionism excludes it. Rorty’s claim that independent reality is “the world well lost” apparently marks him as a radical constructionist. Nevertheless, the core doctrines of his neopragmatism constitute a moderate constructionism, allowing the nature/landscape distinction. The real problem is Rorty’s anthropocentric instrumentalist characterization of pragmatic justification. Left in place, it rendersneopragmatism a form of radical social constructionism. Redescribing the terms of justification in less anthropocentric instrumentalist terms is consistent with the anti-Platonist core of neopragmatism. Thus redescribed, neopragmatism is fully consistent with the landscape/nature distinction. Anthropocentric instrumentalism, not social constructionism per se, is the problem. (shrink)

Landscapes are shaped over time by the changing imaginaries that result from new representations of nature and the value associated with it. This paper discusses the evolving discourses which have shaped the perception of the landscape in two socially and ecologically significant contexts in Chile. The first is the central-southern region of the country, a large portion of which is now devoted to commercial forestry plantations. The second is the Patagonia-Aysén region, where since the 1990s, colonisation of a land (...) defined by a tradition of livestock rearing has evolved into a process epitomised by the slogan “Aysén, Life Reserve”. The representation that was made of central-southern Chile in the 50 'and 60' as a deforested and degraded land was the justification for promoting a new form of land occupation: the monoculture forest, designed and executed by a specific law. Forty years on from the passing of this law, the plantations of central-southern Chile have undergone a process of naturalisation. In this case, the exaltation of nature has been permanent. The only thing that changes is the definition of nature, which ended up including forest plantations. In Patagonia-Aysén, by the other side, there has been a marked shift in the rhetoric surrounding land. This has been particularly noticeable in the case of government bodies and private ecotourism companies, which have constructed an imaginary in line with a new model of economic development for the area. In a break with tradition, both the public and private sectors are beginning to shift their investment away from agricultural and livestock exploitation and towards ecotourism and conservation projects. In both cases, we analyse the manner in which transformations in perceptions and representations of landscape bring about new forms of land use, and how new focuses of value and social interest, forged within wider environmental discourses, have brought with them unexpected social consequences, like depopulation, economic transformations, cultural changes, etc. Thus, the aim of this work is to expose and discuss the reality and scope of new green discourses and their influence on the perception of natural landscapes in the Chilean neoliberal context. (shrink)

The problem raised in the article is actualized not by the artificial attachment of the topic of ecology to the existential problems of humankind, but by the urgent need to conceptualize the dangers of a growing gap between the further development of civilization and ignoring the primary nature of its existence, the analysis of modern specific dangers of wildlife, flora and fauna, catastrophic climatic phenomena, desertification, and chemical pollution of the land. The posed problem of the conceptualization of wild nature (...) logically continues the intention of the authors to turn to the human-dimensional characteristics of the entire natural environment. At the level of socio-philosophical analysis, the meaning of a new model of relations between society and nature is revealed, and alternative concepts of nature protection to modern practices are comprehended. The importance of wildlife in its narrowed (terrestrial) space for social development on the established ideological principles of the most careful attitudes to wildlife, taking into account the reverse dangerous impact of the destructible habitat on humanity, has been proved. (shrink)

This collection of photographs uncovers the mystery and beauty of a part of the country that for most people is hidden in plain view, Places of Grace reveals both the physical splendor and the natural history of a ten-state region encompassing Illinois, Nebraska, Wisconsin, Minnesota, Iowa, Missouri, Kansas, Ohio, Indiana, and Michigan. Open Places of Grace and be guided through forest, wetland, and prairie into the heart of the undiscovered Midwest. From the prairie grasses of western Nebraska to the (...) boreal forests of Michigan's Upper Peninsula, this volume delights the eye and fires the imagination with unexpected images of lands that yet retain the marks of their primeval origins. (shrink)

This retrospective by celebrated photographer Edward Stokes presents a telling, evocative portrait of Hong Kong's natural beauty. It captures the airy paths and ridgetop walks from which Hong Kong's most dramatic panoramas can be gained.

Landscape took on a new meaning through the new science of plant geography of Alexander von Humboldt (1769–1857). In the seventeenth and eighteenth centuries, “landscape” was foremost a painterly genre. Slowly, painted landscapes came to bear on natural surroundings, but by 1800 it was still not common to designate sites as “landscapes.” Humboldt looked at plant vegetation with a painterly gaze. Artists, according to him, could suggest in their work that an abstract unity lay hidden underneath observable (...) phenomena. Humboldt projected painted landscapes on nature and found its ecological unity. By doing so, he ultimately stripped the concept of landscape from its primary visual meaning. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature (...) in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

The article considers the possibilities of the function and constitution of aesthetic value in the contemporary, ambivalent notion of landscape. It begins with a preliminary analysis of three key concepts central to current discussions – namely, nature, landscape, and environment. It presents one of the dominant models of contemporary ideas about the aesthetics of landscape – the natural environmental model –, and in particular its ambition to accommodate both the true character of today’s relationship between man (...) and his habitat and our aesthetic experience and understanding of it. Mainly, the essay points out the theoretical difficulties implied in this. In conclusion, the article suggests the hidden ethical dimension of our possible relationship to our environment. (shrink)

According to evolutionary theory, emotions are psychological mechanisms that have evolved to enhance fitness in specific situations by motivating appropriate (adaptive) behavior. Taking this perspective, a previous study examined the relationship between mood and preference for natural environments. It reported that participants’ anxiety level was associated with a preference for landscapes offering what Appleton called "refuge," while participants’ anger and cheerfulness were both associated with a preference for landscapes offering what Appleton called "prospect." We attempted to replicate these results (...) and to improve on the study by experimentally manipulating mood. Using a between-subjects design, 80 participants were instructed to self-induce one of four moods: anger, sadness, anxiety, or joy. After the mood induction, they viewed fourteen landscape photographs and recorded the seven most preferred. It was hypothesized that subjects experiencing anger or joy would prefer landscapes rich in "prospect" features, whereas participants experiencing sadness or anxiety would prefer landscapes rich in "refuge" features. In contrast to the previous study, the predictions were not supported: artificially induced moods may not provide ecological validity as a test of the "mood as motivator" model; alternatively, the first study may have reported an alpha error. To see whether the model has practical value, we recommend a study of landscape preference using participants with clinically significant levels of mood dysphoria. (shrink)

In this paper, I seek to provide building blocks for a reconciliation of the ethical care for heritage protection and nature restoration ethics. It will do so, by introducing a hermeneutic landscape philosophy that takes landscape as a multi-layered “text” in need of interpretation, and place identities as build upon certain readings of the landscape. I will argue that from a hermeneutic perspective, both approaches appear to complement each other. Renaturing presents a valuable correction to the anthropocentrism (...) of many European rural cultures. Yet, heritage protectionists rightly point to the value of narratives for Old World identities. I will conclude with a short reflection on how such a hermeneutic environmental ethic can be helpful in dealing with environmental conflicts. (shrink)

_Natural Language and Possible Minds: How Language Uncovers the Cognitive Landscape of Nature_ examines the intrinsic connection between natural language and the nature of mentality, offering to show how language can shed light on the forms of other types of mentality in non-humans.

The roots of environmental aesthetics reach back to the ideas of eighteenth-century thinkers who found nature an ideal source of aesthetic experience. Today, having blossomed into a significant subfield of aesthetics, environmental aesthetics studies and encourages the appreciation of not just natural environments but also human-made and human-modified landscapes. _Nature and Landscape_ is an important introduction to this rapidly growing area of aesthetic understanding and appreciation. Allen Carlson begins by tracing the development of the field's historical background, and then (...) surveys contemporary positions on the aesthetics of nature, such as scientific cognitivism, which holds that certain kinds of scientific knowledge are necessary for a full appreciation of natural environments. Carlson next turns to environments that have been created or changed by humans and the dilemmas that are posed by the appreciation of such landscapes. He examines how to aesthetically appreciate a variety of urban and rural landscapes and concludes with a discussion of whether there is, in general, a correct way to aesthetically experience the environment. (shrink)

For most of the twentieth century, nature conservation activities were connected to the protection of agrarian landscapes. During the late 1980s, the introduction of the concept of ‘new wilderness’ offered new opportunities for ecologists, but at the same time produced conflicts with traditional nature and landscape conservation. At the heart of the conflict were different visions of the relation between nature and society, sometimes resulting in a polarised debate, with opposing Arcadian and wilderness visions. In this paper, the new (...) wilderness will be described from a landscape perspective, envisioning these wildernesses as a phase in the long history of human influences on landscapes and as part of a landscape that is complex and multi-layered. Some examples will show how a sectoral approach to nature leads to projects in which opportunities to integrate the new wilderness into a wider context of landscape and society are missed. In the final part, a prospect will be shown in which (new) wilderness is seen as part of a layered landscape. (shrink)

Landscape, Natural Beauty and the Arts offers probing studies of the complex structure of aesthetic responses to nature. Each chapter refines and expands the terms of discussion, and together they enrich the debate with insights from art history, literary criticism, geography and philosophy. To explore the interrelation between our conceptions of nature, beauty and art, the contributors consider the social construction of nature, the determination of our appreciation by artistic media, and the duality of nature's determining in gardening. (...) Showing that natural beauty is impregnated with concepts derived from the arts and from particular accounts of nature, the volume occasions questions of the distinction and relation between art and nature generally, and culminates in a set of philosophical studies of the role of scientific understanding, engagement and emotion in the aesthetic appreciation of nature. (shrink)

Contributing to the cultural ecosystem services literature, this paper draws on the in-depth place narratives of two coastal case-study sites in Wales (UK) to explore how people experience and understand landscape change in relation to their sense of place, and what this means for their wellbeing. Our place narratives reveal that participants understand coastal/intertidal landscapes as complex socio-ecological systems filled with competing legitimate claims that are difficult to manage. Such insights suggest that a focus on diachronic integrity (Holland and (...) O'Neill 1996) within place narratives might offer a route to more socially and culturally acceptable environmental management strategies. (shrink)

In this paper we reject the nature–culture dichotomy by means of the idea of affordance or possibility for action, which has important implications for landscape theory. Our hypothesis is that, just as the idea of affordance can serve to overcome the subjective–objective dichotomy, the ideas of landscape and ecological niche, properly defined, would allow us to also transcend the nature–culture dichotomy. First, we introduce an overview of landscape theory, emphasizing processual landscape theory as the most suitable (...) approach for satisfying both cultural and naturalist approaches. After that, we introduce the idea of affordance and we analyze a tension between sociocultural and transcultural affordances (affordances that depend on cultural conventions and affordances that depend on lawful information and bodily aspects of agents). This tension has various implications for landscape theory and ecological niches. Our proposal is that sociocultural and transcultural aspects of affordances could be systematically accommodated if we apply niche construction theory (the theory that explains the process by which organisms modify their selective environments) as a methodological framework for explaining the emergence of ecological niches. This approach will lead us to an integrative account of landscapes as the products of the interaction between human and environmental elements, making it a clear example of a concept that transcends the nature–culture dichotomy. (shrink)

Back in 1983, I saw a movie called Koyaanisqatsi in an Amsterdam cinema. The film had no actors; in the leading parts were landscapes from all over the ...

The continuum between nature and artefact is occupied by objects and environments that embody a relationship between natural processes and human activity. In this paper, I explore the relationship that emerges through human interaction with the land in the generation and aesthetic appreciation of industrial farming in contrast to more traditional agricultural practices. I consider the concept of a dialectical relationship and develop it in order to characterise the distinctive synthesising activity of humans and nature which underlies cultivated environments. (...) I argue that a more harmonious relationship, and greater aesthetic value, may be located within traditional farming landscapes. This position is supported and illustrated through a discussion of two agricultural practices in the UK, hedge-laying and stonewalling. (shrink)

Following the suggestion expressed in the title of this essay, I deal with the idea which allows for considering landscape garden as a paradigmatic indicator of our relationship with nature. Focusing on the idea of landscape garden and its aesthetics I analyze two aesthetic notions: the picturesque and sublime, which are the background of the kind of experience accompanying a perception and participation of and in the landscape and environment. I analyse the kind of experience, which captures (...) all the aspects that situate the human in the environment instead of opposing it. The analysis will be conducted within the framework of aesthetics. (shrink)

Résumé: Jusqu’à présent, le développement humain a eu pour corolaire la destruction des paysages culturels. Avec le développement de la civilisation industrielle, les gens ne profitent pas seulement du bonheur qu’elle leur apporte, mais sont également confrontés à divers problèmes liés aux paysages culturels. La philosophie de l’environnement est une philosophie moderne qui considère la relation entre l’homme et la nature comme une question fondamentale, et qui met l’accent sur la protection des paysages culturels. L’analyse de la philosophie environnementale de (...) la Chine ancienne montre que les anciens penseurs se souciaient de tout ce qui se trouve au ciel et sur la terre et qu’ils exploraient en profondeur des questions telles que le développement harmonieux entre l’homme et la nature, offrant ainsi une nouvelle approche de la protection des paysages culturels chinois. Prenant l’exemple de la philosophie environnementale taoïste, cet article propose une analyse préliminaire de la définition des paysages culturels, du développement de la philosophie environnementale et de la philosophie environnementale taoïste. Partant de là, il explore le rôle de la philosophie environnementale telle que “l’unité du ciel et de l’homme” dans la construction de la civilisation écologique, apportant ainsi de nouvelles idées pour la protection des paysages culturels. (shrink)

Here it is shown that 'vacant nature' is deployed as sign in Anglo-American landscape representation of the seventeenth to nineteenth centuries to support a Cartesian imaginary of spatial extension. The referent of this imaginary is variously denoted as 'America' (John Locke), the 'north west' (Jefferson), the 'wilderness' (Ralph Waldo Emerson), and the 'frontier' (Frederick Jackson Turner) but throughout it is essentially the same 'vacant' landscape; its function is to produce a site and space of appearance for an imperial (...) self, an isolate pursuing self-extension through commodity production and consumption. This spatial representation—the predecessor of the abstract space of shopping malls, interstates, commercial advertising, global markets, office buildings, and suburbs—is contrasted with 'place,' a space shaped by topography, collective memory, and ecological constraint. (shrink)

After the so-called Hegelian verdict, Adorno is the first philosopher who devotes such an intense attention to natural beauty within his aesthetic speculations. This central – although unfairly bypassed – moment could be fruitfully analysed through the figure of landscapes, thematized throughout Adorno’s constellation of texts. In this framework, the landscape represents more than a mere backdrop, but rather a significant theoretical spot to concretize the connection between the aesthetic performativity and the beauty of nature. Therefore, by means (...) of a careful reading of Adorno’s various formulations on the topic, this paper aims to show how the philosopher overcomes the traditional and immediate antithesis between nature and culture or even technique. More importantly, it will be investigated how a genuine aesthetic experience of nature – also in the image of a landscape – should be configurated, in order to hopefully feel its now mutilated silence again. (shrink)

Landscape is a cultural construct, a way of conceptualizing and experiencing place. If it is true that our shaping perception [] makes the difference between raw matter and landscape (Scharma 1995: 10), how do designers and the technologies they use shape that perception? How do the various technologies and techniques that are used to represent landscape in the twenty-first century frame how we perceive nature in our minds and how we sense it through our bodies? This article (...) explores the way so-called natural landscapes are conceived, represented and designed by professionals within contemporary culture. By interrogating how experiences of place are constructed through three mediums webcams, large-format cinema and landscape architectural design an intertextual picture of contemporary landscape emerges that is simultaneously virtual, hybridized and real. (shrink)

Commented article: XU, Y. Chinese cultural landscapes: from the ideal of a balanced bond between humans and nature to ecological forms of life. Trans/Form/Ação, v. 47, n. 4 “Eastern thought”, e0240067, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/14623.

The landscape has been of particular interest since the 1970s, and this is largely due to the threats to nature resulting from the climate crisis. The axis of the argument is the assumption of a significant relationship between the concept of landscape and the nature-culture relationship in the modern era and today. The text reflects on the meaning of the concept of landscape in aesthetic and cultural terms and within the framework of contemporary environmental aesthetics and the (...) philosophy of natural heritage. Landscape as an aesthetic idea emerged in the modern era with the development of landscape painting. In J. Ritter’s approach, the concept of landscape focuses, as in a lens, on the modern-era attitude of man to nature. Landscape as a medium is not only a genre of art but also becomes a carrier of ideas, social needs and political aspirations. The content of the article refers to the concept of W.J.T. Mitchell and S. Pietraszko. Landscape as an environment and natural heritage will be discussed in the example of A. Carlson’s concept and approach to nature and landscape which is reflected in UNESCO conventions. (shrink)

This article takes inspiration from Allan Sekula’s remarks on New Topographics photography, as well as his own ‘geography lessons’, to interrogate how photographs of ‘man-altered landscapes’ give visual form to the problems of temporality, natural history and historical agency that mark life in the Capitalocene. It proposes that combining Fredric Jameson’s analysis of the way that capital congeals ‘quantities of the past’ into dead labour with Andreas Malm’s diagnosis of our ‘warming condition’ allows us both to diagnose and counter (...) the temptation to a sublime inhumanity that so often haunts contemporary panoramas of ecological devastation. (shrink)

Despite the fact that they are in most respects environmentally benign, electricity-generating wind turbines frequently encounter a great deal of resistance. Much of this resistance is aesthetic in character; wind turbines somehow do not "fit" in the landscape. On one view, landscapes are beautiful to the extent that they are "scenic," well-balanced compositions. But wind turbines introduce a discordant note, they are out of "scale." On another view, landscapes are beautiful if their various elements form a stable and integrated (...) organic whole. But wind turbines are difficult to integrate into the biotic community; at least in certain respects, they are like "weeds." Moreover, there is a reason why the 100-meter, three bladed wind turbines now favored by the industry cannot very well be accommodated to any landscape view. They are, as Albert Borgmann would put it, characteristic of contemporary technology, distanced "devices" for the production of a commodity rather than "things" with which one can engage. It follows that the only way in which the aesthetic resistance to wind turbines can be overcome is to make them more "thing-like." One such "thing-like" turbine is discussed. (shrink)

ABSTRACT This article aims to defend the dialogical nature of the landscape. Working in between the borders of the Bakhtinian philosophy of language and cultural studies on landscape, we defend that landscape study should not be studied without considering the cultural forms of communication in the different domains of social organization– the speech genres; that landscape is a semiotic encounter with a concrete otherness; that the interpreter who emerges when an area enters a relationship of representation (...) is necessarily characterized as a chronotope; that every landscape is a chronotopic representation; that cultural geography recognizes that the semiotic aspects of the landscape are as material as its morphology. We start from the hypothesis that landscape is a chronotopic representation that is always made possible by means of some speech genre, because it is always a communicative process, and an encounter with another in a situation of socially organized interrelation – it is concrete dialogue. To find the deeper meaning of a landscape, one must recognize and understand its material, historical, geographical, and dialogic nature. RESUMO O artigo objetiva defender a índole dialógica da paisagem. Trabalhando na fronteira entre a filosofia bakhtiniana da linguagem e os estudos culturais da paisagem, defendemos que a paisagem não seja estudada sem considerar as formas culturais de comunicação nos diferentes domínios da organização social – os gêneros discursivos; que toda paisagem é encontro semiótico com uma alteridade concreta; que o intérprete que emerge quando uma área entra em relação de representação é necessariamente caracterizado por um cronotopo; que toda paisagem é representação cronotópica; que a geografia cultural reconheça que os aspectos semióticos da paisagem são tão materiais quanto sua morfologia. Partimos da hipótese de que a paisagem é uma representação cronotópica que sempre se realiza através de algum gênero discursivo, pois sempre é um processo comunicativo e de encontro com o outro em uma situação de inter-relação socialmente organizada – é diálogo concreto. Para adentrar à profundeza de seus sentidos, precisa-se reconhecer e compreender sua índole material, histórica, geográfica e dialógica. (shrink)

Cultural landscapes represent a complex category where the nature-culture dichotomy seem to not be able to unfold the main features and the profound relations that humans have with the environment. Drawing on ethnographic data collected in the saltpans of Se-ovlje (Slovene Istria) and Janubio (Lanzarote--Canary Islands) this article examines informant`s perceptions about the awareness of the importance and the enhancement of the holistic values of both saltpans, as well as the impacts and benefits of tourism. Comparing these perceptions about both (...) cultural landscapes, I try to suggest that the complex fruitfully relations between humans and nature in these saltpans are at odds with the neoliberal logic of nature which exploit and commoditize its resources depriving them of their respective agency. A sustainability to contrast the harmful activities of the market ought to be understood not as a simply isolation and fencing of nature for the sake of conservation, but as a preservation that need to foster the continuity of the deep interactions between human culture and non-human nature which are the core of the cultural landscapes. (shrink)

Following Jean-Marc Besse’s identification of landscape as a dynamic, changing, relational and ‘emergent’ entity, I argue in this article that the artistic creative process is a way of ‘doing with’ landscape that fully embraces this peculiarity of landscape. The art of dance, in particular, makes it clear that it is the artist who creates a kind of mutual attraction between the (trans)formative forces of the landscape, suggesting its renewal and thus giving impetus to its metamorphic and (...) transformative nature. Drawing on Tonino Griffero’s neo-phenomenological approach to the characterisation of landscape as an atmosphere, i.e. as an emotional tonality effused in a ‘felt-bodily’ space, I emphasise the role of the affective dimension in the perception of landscape as something ‘to do with’ rather than ‘to act upon’ in artistic practice. To this end, I take as a case study Anna Halprin’s ‘exploratory’ dance, which focuses on fostering an individual and collective search for a harmonisation of the relationship between movement and emotion. Drawing on notions of the ‘felt body’, ‘atmospheric affordances’ and ‘ecstasies of things’, I analyse the role that her outdoor dance studio – designed by landscape architect Lawrence Halprin – plays in placing the creative process at the centre of dance’s very specific way of ‘doing with’ the landscape. (shrink)

"Man in the Landscape" was among the first books of a new genre that has elucidated the ideas, beliefs, and images that lie behind our modern destruction and ...