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Geographical Aesthetics places the terms 'aesthetics' and 'geography' under critical question together, responding both to the increasing calls from within geography to develop a 'geographical aesthetics', and a resurgence of interdisciplinary interest in conceptual and empirical questions around geoaesthetics, environmental aesthetics, as well as the spatialities of the aesthetic. Despite taking up an identifiable role within the geographical imagination and sensibilities for centuries, and having what is arguably a key place in the making of the modern discipline, aesthetics remains a relatively under-theorized field within geography. Across 15 chapters Geographical Aesthetics brings together timely commentaries by international, interdisciplinary scholars to rework historical relations between geography and aesthetics, and reconsider how it is we might understand aesthetics. In renewing aesthetics as a site of investigation, but also an analytic object through which we can think about worldly encounters, Geographical Aesthetics presents a reworking of our geographical imaginary of the aesthetic.
Geographical Aesthetics places the terms 'aesthetics' and 'geography' under critical question together, responding both to the increasing calls from within geography to develop a 'geographical aesthetics', and a resurgence of interdisciplinary interest in conceptual and empirical questions around geoaesthetics, environmental aesthetics, as well as the spatialities of the aesthetic. Despite taking up an identifiable role within the geographical imagination and sensibilities for centuries, and having what is arguably a key place in the making of the modern discipline, aesthetics remains a relatively under-theorized field within geography. Across 15 chapters Geographical Aesthetics brings together timely commentaries by international, interdisciplinary scholars to rework historical relations between geography and aesthetics, and reconsider how it is we might understand aesthetics. In renewing aesthetics as a site of investigation, but also an analytic object through which we can think about worldly encounters, Geographical Aesthetics presents a reworking of our geographical imaginary of the aesthetic.
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
This book examines the power definiteness of landscape from a social constructivist perspective with a particular focus on the importance of aesthetic concepts of landscape in development. It seeks to answer the question of how societal notions of landscape emerge, how they are individually updated and how these ideas affect the use and design of physical space. It also analyzes how physical manifestations of societal activity impact on understandings of individual and societal landscapes and addresses the essential aspect of the social construction of landscape, cultural specificity, which in turn is discussed in the context of the expansion of a western landscape concept. The book offers an unprecedented, comprehensive and detailed examination of societal power relations in the context of landscape development. The numerous case studies from the physical manifestation of modern spatial planning in the United States, the power discourses concerning the design of model railway landscapes, and the medial production of stereotypical landscape notions shed light on the complex and multilayered interactions of collective and individual landscape references. It is a valuable resource for geographers, sociologists, landscape architects, landscape planners and philosophers.
This ambitious and innovative volume stretches over time and space, over the history of modernity in relation to antiquity, between East and West, to offer insights into what the author terms the 'geographical unconscious.' She argues that, by tapping into this, we can contribute towards the reinstatement of some kind of morality and justice in today's troubled world. Approaching selected moments from ancient times to the present of Greek cultural and aesthetic geographies on the basis of a wide range of sources, the book examines diachronic spatiotemporal flows, some of which are mainly cultural, others urban or landscape-related, in conjunction with parallel currents of change and key issues of our time in the West more generally, but also in the East. In doing so, The Geographical Unconscious reflects on visual and spatial perceptions through the ages; it re-considers selective affinities plus differences and identifies enduring age-old themes, while stressing the deep ancient wisdom, the disregarded relevance of the aesthetic, and the unity between human senses, nature, and space. The analysis provides new insights towards the spatial complexities of the current age, the idea of Europe, of the East, the West, and their interrelations, as well as the notion of modernity.
Art history traditionally classifies works of art by country as well as period, but often political borders and cultural boundaries are highly complex and fluid. Questions of identity, policy, and exchange make it difficult to determine the "place" of art, and often the art itself results from these conflicts of geography and culture. Addressing an important approach to art history, Thomas DaCosta Kaufmann's book offers essays that focus on the intricacies of accounting for the geographical dimension of art history during the early modern period in Europe, Latin America, and Asia. Toward a Geography of Art presents a historical overview of these complexities, debates contemporary concerns, and completes its exploration with a diverse collection of case studies. Employing the author's expertise in a variety of fields, the book delves into critical issues such as transculturation of indigenous traditions, mestizaje, the artistic metropolis, artistic diffusion, transfer, circulation, subversion, and center and periphery. What results is a foundational study that establishes the geography of art as a subject and forces us to reconsider assumptions about the place of art that underlie the longstanding narratives of art history.
While Washington, D.C., is still often referred to as "Chocolate City," it has undergone significant demographic, political, and economic change in the last decade. In D.C., no place represents this shift better than the H Street corridor. In this book, Brandi Thompson Summers documents D.C.'s shift to a "post-chocolate" cosmopolitan metropolis by charting H Street's economic and racial developments. In doing so, she offers a theoretical framework for understanding how blackness is aestheticized and deployed to organize landscapes and raise capital. Summers focuses on the continuing significance of blackness in a place like the nation's capital, how blackness contributes to our understanding of contemporary urbanization, and how it laid an important foundation for how Black people have been thought to exist in cities. Summers also analyzes how blackness—as a representation of diversity—is marketed to sell a progressive, "cool," and authentic experience of being in and moving through an urban center. Using a mix of participant observation, visual and media analysis, interviews, and archival research, Summers shows how blackness has become a prized and lucrative aesthetic that often excludes D.C.'s Black residents.
Interest in sensory atmospheres and architectural and urban ambiances has been growing for over 30 years. A key figure in this field is acclaimed German philosopher Gernot Böhme whose influential conception of what atmospheres are and how they function has been only partially available to the English-speaking public. This translation of key essays along with an original introduction charts the development of Gernot Böhme's philosophy of atmospheres and how it can be applied in various contexts such as scenography, commodity aesthetics, advertising, architecture, design, and art. The phenomenological analysis of atmospheres has proved very fruitful and its most important, and successful, application has been within aesthetics. The material background of this success may be seen in the ubiquitous aestheticization of our lifeworld, or from another perspective, of the staging of everything, every event and performance. The theory of atmospheres becoming an aesthetic theory thus reveals the theatrical, not to say manipulative, character of politics, commerce, of the event-society. But, taken as a positive theory of certain phenomena, it offers new perspectives on architecture, design, and art. It made the spatial and the experience of space and places a central subject and hence rehabilitated the ephemeral in the arts. Taking its numerous impacts in many fields together, it initiated a new humanism: the individual as a living person and his or her perspective are taken seriously, and this fosters the ongoing democratization of culture, in particular the possibility for everybody to participate in art and its works.
James and Nancy Duncan look at how the aesthetics of physical landscapes are fully enmeshed in producing the American class system. Focusing on an archetypal upper class American suburb-Bedford in Westchester County, NY-they show how the physical presentation of a place carries with it a range of markers of inclusion and exclusion.
This book explores how speculative thinking is shaping how we relate to our entangled social, mental, and environmental ecologies. It examines how speculative philosophies and concepts are changing geographical research methods and techniques, whilst also developing how speculative thinking transforms the way human, non-human, and more-than-human things are conceptualised in research practices across the social sciences, arts, and humanities. Offering the first dedicated compendium of geographical engagements with speculation and speculative thinking, the chapters in this edited collection advance debates about how affective, imperceptible, and infra-sensible qualities of environments might be written about through alternative registers and ontologies of experience. Organised around the themes of Ethics, Technologies, and Aesthetics, the book will appeal to those engaging with architecture, Black political theory, fiction, cinema, children’s geographies, biotechnologies, philosophy, rural studies, arts practice, and nuclear waste studies as speculative research practices appropriate for addressing contemporary ecological problems. Chapters 1, 3 and 4 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.