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Is it only through vision that we can perceive a landscape? Is the space opened by the landscape truly an expanse cut off by the horizon? Do we observe a landscape in the way that we watch a 'show'? What, ultimately, does it mean to 'look'? In this important new book, one of France's most influential living theorists argues that the first civilization to truly consider landscape was China. In giving landscape the name 'mountain(s)-water(s)', the Chinese language provides a powerful alternative to Western biases. The Chinese conception speaks of a correlation between high and low, between the still and the motile, between what has form and what is formless, between what we see and what we hear. No longer a matter of 'vision', landscape becomes a matter of living. Francois Jullien invites the reader to explore reason's unthought choices, and to take a fresh look at our more basic involvement in the world.
"Being able to 'read' the landscape whilst on a walk makes a huge difference. It is like suddenly seeing the world in colour after being used to a lifetime of black and white. The Living Landscape looks in detail at landscape formation: from rocks, through soil to vegetation and the intricate web of interactions between plants, animals, climate and the people that makes the landscape around us. Each chapter is interspersed with diagrams, sketches and notes that Patrick has taken over two decades of living and working in the countryside. Patrick will inspire you to reconnect with the land as a living entity, not a collection of different scenery, and develop an active relationship with nature and the countryside. This book invites you to actively engage with nature and experience it first hand. Understanding how landscapes evolve is a useful skill for landscape designers, farmers, gardeners and smallholders but it is also a life-enhancing skill all of us can enjoy. Patrick offers us the enduring pleasure that costs nothing and yet offers everything." -- Publisher's description
“This thoughtful, intelligent book is all about connectivity, addressing a natural world in which we are the primary influence.” —The New York Times Books Review Many gardeners today want a home landscape that nourishes and fosters wildlife, but they also want beauty, a space for the kids to play, privacy, and maybe even a vegetable patch. Sure, it’s a tall order, but The Living Landscape shows you how to do it. You’ll learn the strategies for making and maintaining a diverse, layered landscape—one that offers beauty on many levels, provides outdoor rooms and turf areas for children and pets, incorporates fragrance and edible plants, and provides cover, shelter, and sustenance for wildlife. Richly illustrated and informed by both a keen eye for design and an understanding of how healthy ecologies work, The Living Landscape will enable you to create a garden that fulfills both human needs and the needs of wildlife communities.

See the images and read the stories behind the creative process of one of America’s most respected landscape photographers, William Neill.

For more than two decades, William Neill has been offering his thoughts and insights about photography and the beauty of nature in essays that cover the techniques, business, and spirit of his photographic life. Curated and collected here for the first time, these essays are both pragmatic and profound, offering readers an intimate look behind the scenes at Neill’s creative process behind individual photographs as well as a discussion of the larger and more foundational topics that are key to his philosophy and approach to work.

Drawing from the tradition of behind-the-scenes books like Ansel Adams’ Examples: The Making of 40 Photographs and Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, Light on the Landscape covers in detail the core photographic fundamentals such as light, composition, camera angle, and exposure choices, but it also deftly considers those subjects that are less frequently examined: portfolio development, marketing, printmaking, nature stewardship, inspiration, preparation, self-improvement, and more. The result is a profound and wide-ranging exploration of that magical convergence of light, land, and camera.

Filled with beautiful and inspiring photographs, Light on the Landscape is also full of the kind of wisdom that only comes from a deeply thoughtful photographer who has spent a lifetime communicating with a camera. Incorporating the lessons within the book, you too can learn to achieve not only technically excellent and beautiful images, but photographs that truly rise above your best and reveal your deeply personal and creative perspective—your vision, your voice.

Examining human-animal relations among the reindeer hunting and herding Dukha community in northern Mongolia, this book focuses on concepts such as domestication and wildness from an indigenous perspective. By looking into hunting rituals and herding techniques, the ethnography questions the dynamics between people, domesticated reindeer, and wild animals. It focuses on the role of the spirited landscape which embraces all living creatures and acts as a unifying concept at the center of the human and non-human relations.
"Of beach plums, ramps, and Ramada Inns: a quietly sensitive eminently sensible consideration of the landscapes of our lives . . . A gift." —Kirkus Reviews Following her bestselling The Architect of Desire, Suzannah Lessard returns with a remarkable book, a work of relentless curiosity and a graceful mixture of observation and philosophy. This intriguing hybrid will remind some of W. G. Sebald’s work and others of Rebecca Solnit’s, but it is Lessard’s singular talent to combine this profound book–length mosaic— a blend of historical travelogue, reportorial probing, philosophical meditation, and prose poem—into a work of unique genius, as she describes and reimagines our landscapes. In this exploration of our surroundings, The Absent Hand contends that to reimagine landscape is a form of cultural reinvention. This engrossing work of literary nonfiction is a deep dive into our surroundings—cities, countryside, and sprawl—exploring change in the meaning of place and reimagining the world in a time of transition. Whether it be climate change altering the meaning of nature, or digital communications altering the nature of work, the effects of global enclosure on the meaning of place are panoramic, infiltrative, inescapable. No one will finish this book, this journey, without having their ideas of living and settling in their surroundings profoundly enriched.
The Living Landscape is a manifesto, resource, and textbook for architects, landscape architects, environmental planners, students, and others involved in creating human communities. Since its first edition, published in 1990, it has taught its readers how to develop new built environments while conserving natural resources. No other book presents such a comprehensive approach to planning that is rooted in ecology and design. And no other book offers a similar step-by-step method for planning with an emphasis on sustainable development. This second edition of The Living Landscape offers Frederick Steiner’s design-oriented ecological methods to a new generation of students and professionals. The Living Landscape offers • a systematic, highly practical approach to landscape planning that maximizes ecological objectives, community service, and citizen participation • more than 20 challenging case studies that demonstrate how problems were met and overcome, from rural America to large cities • scores of checklists and step-by-step guides • hands-on help with practical zoning, land use, and regulatory issues • coverage of major advances in GIS technology and global sustainability standards • more than 150 illustrations. As Steiner emphasizes throughout this book, all of us have a responsibility to the Earth and to our fellow residents on this planet to plan with vision. We are merely visiting this planet, he notes; we should leave good impressions.
This book is about lives lived out on the borderlands, lives for which the central interpretative devices of the culture don't quite work. It has a childhood at its centre - my childhood, a personal past - and it is about the disruption of that fifties childhood by the one my mother had lived out before me, and the stories she told about it.' Intricate and inspiring, this unusual book uses autobiographical elements to depict a mother and her daughter and two working-class childhoods (Burnley in the 1920s, South London in the 1950s) and to find a place for their stories in history and politics, in psychoanalysis and feminism. 'Provocative and quite dazzling in its ambitions. . . Beautifully written, intellectually compelling'.' Judith Walkowitz 'Carolyn Steedman's 1950s South London childhood was shaped by her mother's longing: "What she actually wanted were real things, real entities, things she materially lacked, things that a culture and a social system withheld from her... When the world didn't deliver the goods, she held the world to blame." When Carolyn Steedman grows up and begins to look for reflections of her and her mother's lives in history, theory, and literature, she finds that "the tradition of cultural criticism that has employed working-class lives, and their rare expression in literature, has made solid and concrete the absence of psychological individuality - of subjectivity." Through an in-depth comparison of personal experience and prevailing political and social science theory on the psychology and attitudes of working-class people, Landscape for a Good Woman challenges an intellectual tradition that denies "its subjects a particular story, a personal history, except when that story illustrates a general thesis." In this poignantly written and thoroughly researched work, the common theoretical conclusion that the survival struggles of working-class people precludes the time necessary for more genteel "elaboration of relationships" is shot full of delightfully life-affirming holes.' - --From 500 Great Books by Women; review by Jesse Larsen.
In Houses in a Landscape, Julia A. Hendon examines the connections between social identity and social memory using archaeological research on indigenous societies that existed more than one thousand years ago in what is now Honduras. While these societies left behind monumental buildings, the remains of their dead, remnants of their daily life, intricate works of art, and fine examples of craftsmanship such as pottery and stone tools, they left only a small body of written records. Despite this paucity of written information, Hendon contends that an archaeological study of memory in such societies is possible and worthwhile. It is possible because memory is not just a faculty of the individual mind operating in isolation, but a social process embedded in the materiality of human existence. Intimately bound up in the relations people develop with one another and with the world around them through what they do, where and how they do it, and with whom or what, memory leaves material traces. Hendon conducted research on three contemporaneous Native American civilizations that flourished from the seventh century through the eleventh CE: the Maya kingdom of Copan, the hilltop center of Cerro Palenque, and the dispersed settlement of the Cuyumapa valley. She analyzes domestic life in these societies, from cooking to crafting, as well as public and private ritual events including the ballgame. Combining her findings with a rich body of theory from anthropology, history, and geography, she explores how objects—the things people build, make, use, exchange, and discard—help people remember. In so doing, she demonstrates how everyday life becomes part of the social processes of remembering and forgetting, and how “memory communities” assert connections between the past and the present.