The production of mindscapes : a comprehensive theory of landscape experience (original) (raw)
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Psychology of the visual landscape
2011
While environmental psychology is a leading discipline in the study of human responses to the visual landscape, various other disciplines contribute to our understanding of the psychological perception of landscape as well, such as human geography and sociology. Despite the disciplinary differences, all approaches share, explicitly or implicitly, three core assumptions (Jacobs, 2006: 47): (1) the way people perceive landscapes is infl uenced but not determined by physical landscape attributes, (2) a complex mental process of information reception and processing mediates between the physical landscape and the psychological landscape, and
Perceiving Landscape Process Based on Sensory and Intellectual Perceptions
The Monthly Scientific Journal of Bagh- E Nazar, 2020
Problem statement: According to definitions, Landscape is a phenomenon that is perceived by man. First, Human beings have physiologically communicated with the environment through senses and stimuli, which leads to strengthening mental memory and sensory perception. In the following, in Intellectual Perception, sensory experiences will meaningful and cognition is obtained. Consequently, the lack of attention to all senses reduces sensory experiences. Since there has not been a comprehensive research on the landscape perception process, the present study seeks to answer the main question, what is the process of landscape perception? In order to answer this question, it is first necessary to answer these sub-questions. Based on which senses do human sensory perception form? What are human intellectual perception and its influencing factors? Research objectives: This research aimed at increasing the sensory experiences and higher responsiveness of the landscape by identifying and considering the process of perception and its effective factors on the perception of the landscape. Research method: The present study is qualitative and in terms of purpose is the applied research. The methodology of this research was qualitative content analysis and the method of data collection was the bibliographic method. The data were collected by the bibliographic method through studying the texts, documents, and others’ reviews. The induction method was used to analyze the data and investigated the process of landscape perception in two areas of sensory perception and Intellectual perception. Conclusion: These results demonstrate that considering only five human senses in the landscape perception, regardless other 51 senses, intellectual perceptions and its factors (physical landscape, cultural factors, individual factors) can lead to an “objective and technical” description of the landscape. Besides, it can cause the record of a superficial layer of experiences, decreasing sensory experiences, weakening the relationship between the user and the physical environment and affecting humans’ behavior. So that, failure to meet humans’ expectations of the environment may result in one resentment and even leaving it.
EXPERIENCING LANDSCAPE. A PHENOMENOLOGICAL PERSPECTIVE
In this paper, I draw on a possible conception of landscape from Merleau-Ponty's philosophy. Starting from an overview of the two main positions regarding landscape within the continental philosophical tradition (Simmel and Ritter), I consider the use of the term 'landscape' in Merleau-Ponty's thought, without wishing to claim that the French philosopher presents a philosophy of landscape within his works. I want to show that important elements for the outline of a phenomenological conception of landscape emerge from Merleau-Ponty's philosophy. According to Simmel, landscape is seen as the product of a spiritual act, and in Ritter's perspective, landscape emerges from a detached contemplation of nature proper to humans in the modern era. Contrasted with these views, a consideration of Merleau-Ponty's original works allows to draw on a conception of landscape in which the experiential and perceptual dimensions are fundamental. This view enables us to consider landscape in its centrality for human experience, and leads to a better understanding of the strong ontological commitment between humans and nature.
Resounding Landscapes -Combining Psychogeography and Elements of the Landscape as Composition
New Music Concepts 2018, 2018
Experiencing a landscape can be a vivid and visceral experience. For artists in particular, landscapes can be a source of inspiration for works, as well as providing integral frameworks in the process. Arguably, the experience between the walker and the landscape is a multi-layered form of communicative expression, where the walker engages in introspective reflection in addition to engaging with the surrounding landscape. This paper will discuss how psycho-geography and sonification methods are used to inform the author's practice in creating audiovisual works, through examining the creative process of one of her works. 1 Introduction Interpretations of the landscape cannot be separated from the observer; our personal experiences filter and colour our observations. Detailing the experience of being immersed in a landscape is a two-part process-firstly, the body processes the landscape through the senses (for most of us, this largely involves sight and sound), then secondly , the mind interprets these sensations through the prisms of memories in order to attach personal meaning to current experiences. Exploring the visceral relationship between observer and the landscape and the expression of personal narratives formed during my time in a place to an audience underpins my practice, which combines field footage, field recordings and performance as a way of creating audiovisual works. Much of the compositional processes behind my practice involve exploring how to incorporate visual and aural elements of the landscape into a vehicle for self-expression and self-reflection. Arguably, the use of landscapes in the creation of artefacts is a form of communicative expression-between the observer and the landscape, and also between the artist and themselves. The act of immersion into a landscape, through being within and forging navigational methods, is a way for the observer to create a dialogue with the land. Through the lenses of this relationship, an observer can then direct their focus onto themselves and their internal dialogue.
Neuroaesthetics and landscape appreciation
Landscape Research, 2020
This article is a critical review of some aspects of theories of landscape appreciation in the light of the findings of neuroscience. Four propositions that have been employed in appraisal theory, and which can potentially be informed by these findings, are selected. An introduction is given on the scope of neuroscience and its models of aesthetic experience followed by reviews of objectivism, preferences from adaptation, the objective assessor, and direct perception. The conclusions of neuroaestheticians, even in their preliminary present state, offer the potential for clarifying these, and per-haps further, aspects of the theory of landscape assessment.
2017
We admire some kinds of landscape and dislike others. Some prefer one kind of landscape and some prefer another. This phenomenon is dependent on a variety of factors, some of them well known and some moot. Our aesthetic evaluation of landscape is usually seen as an obvious, natural, human reaction. Despite this general opinion, our ability to perceive the aesthetic value of landscape is very influenced by our cultural environment, and acquired during our socialization. This becomes apparent when we focus our attention on a different cultural environment and find that the differences are remarkable. "Our excitement about the landscape or nature is often received as a default reaction in spite of it is influenced maybe even created by the culture. We can see it when we look at the different cultures how they see it, or just to our own europian history." (Stibral, 2008:193) Our preferences are particularly based on ancient theories of an ideal landscape, one which is able to provide enough food and refuge. This means that our consciousness is permanently searching for a landscape like home, with resources suited to our lives. In simple terms, we can say that our visual preferences are strongly influenced by our needs. On the other hand, we can be enthralled by a distinct different kind of landscape. Our evaluation is always dependent on the culture in which we are raised. The reason is clear; the needs of various other peoples living in different climatic conditions are distinct from our own and their aesthetic preferences reflect this. We can easily recognize the pleasant feelings evoked by a landscape which appears to be bountiful and well supplied with water and quarry. This place should have enough trees to provide shade and, simultaneously, enough light and space for growing plants and grazing animals. These coinciding elements are easily recognizable and searching for them is straightforward On the other hand we can encounter optical phenomena which positively affect the majority of observers, even though it is not easy to find any rational cause for our fancy. An interesting example is the reflection of moonlight on water. This phenomenon is so significant in our culture, that we have a particular word, moonglade, for it. This phenomenon occurs as a pleasant aesthetic experience to the majority of people who have the opportunity to see it. However, we may ask, what is the link between this and our pragmatic subconscious, which prefers suggestions with a sensible context? Here is the point where we ask if our mind is really manipulated only by its needs. In this specific example we just can´t find the coherence. What influences, other than pragmatic necessity, affect how our subconscious synthesizes meaning? The landscape is perceived not only visually but also by our other senses. Thus, when we assess all the preferred visual parts of a landscape, it is also important what we are feeling or hearing at that moment. This is the view of the anthropologist Sarah Pink. Indeed, the visual aspect may occupy a quite different position in the sensory hierarchy of