Landscape painting

The images in this exhibition were based on questioning relationships between the histories of painting and photography, which helped to establish the indexical references that became both photography’s most powerful attribute and most subtle illusion. Debates over the objectivity or subjectivity of the photograph and the uneasy relationship between painting and photography, as played out in the history of art, have been brought into sharp relief with the contemporary proliferation of digital images. The digital realm of photography gives rise to a general and relative skepticism of verity, but it can be argued that to artist/photographers, this representational malleability is precisely what their purpose becomes. In researching current issues of the indexical in photographic practice, landscape provides a potent vehicle for exploring issues of representation and illusion, the nexus of painting and photography, and the digital realm. One of contemporary photography’s most resonant themes is a return to pictorial subjects and methods, including a renewed interest in floribunda, still life and landscape. The resulting deconstruction and reconstruction of landscape ‘painting’ in this body of work- the monochrome, linear abstraction, painterly representationalsism and pictorialist detail is presented as a perceptual, aesthetic and digital act. The exhibition incorporates landscape painting’s simplicity and complexity, photography’s significance of representation and minimalist aesthetics in an over-mediated world.

The art of landscape painting in oil colour,

Mode of access: Internet.

Hints on light and shadow, composition, etc. : as applicable to landscape painting : illustrated by examples /

Mode of access: Internet.

Three essays : On picturesque beauty; On picturesque travel; and On sketching landscape : to which is added a poem On landscape painting /

Mode of access: Internet.

Detecting phase transitions in community structures using big data analysis of the engineering education research landscape: a European perspective

Comunicação apresentada na 44th SEFI Conference, 12-­15 September 2016, Tampere, Finland

Living Landscape: The European Landscape Convention in Research Perspective

This special issue reports some of the highlights of the conference Living Landscape – The European Landscape Convention in Research Perspective, organised jointly by UNISCAPE and Landscape Europe (UNISCAPE, 2010). Starting questions for this conference were: what has science contributed to the implementation of the European Landscape Convention (CoE, 2000) and what are the topics for the future of European landscape? The 10th anniversary of the Florence Convention in October 2010 was an opportunity to discuss the merits of landscape science in integrated research of a rapidly changing environment. Many interdisciplinary contributions presented referred to the Landscape Convention. The conference focused on cutting-edge research results at the crossroads of sciences and humanities, design and empiricism. Not by chance, the conference was also the occasion to launch a new ESF-COST Science-Policy Briefing on Landscape Research (Bloemers, Daniels, Fairclough, Pedroli, & Stiles, 2010 Bloemers, T., Daniels, S., Fairclough, G., Pedroli, B., & Stiles, R. (Eds.) (2010) Landscape in a changing world. Bridging Divides, integrating disciplines, serving society. Science Policy Briefing nr 41. Strasbourg and Brussels: ESF-COST. ): ‘Landscape in a Changing World – Bridging Divides, Integrating Disciplines, Serving Society’. It emphasises the importance of four interdisciplinary themes: Universal commons: securing landscape as a common good. Roots and routes: coming to terms with mobility and evolving lifestyles. Reactions and resilience: long-term landscape transformations. Road maps: landscape as baseline and context for future change. The papers in this special issue largely reflect these themes.

Histoire de l'art du paysage depuis la renaissance des beaux-arts jusqu'au dix-huitème siècle, ou, Recherches sur l'origine et les progrès de ce genre de peinture, et sur la vie, les ouvrages et le talent distinctif des principaux paysagistes des différentes écoles /

Includes index.

Modelling attribute non-attendance in choice experiments for rural landscape valuation

Non-market effects of agriculture are often estimated using discrete choice models from stated preference surveys. In this context we propose two ways of modelling attribute non-attendance. The first involves constraining coefficients to zero in a latent class framework, whereas the second is based on stochastic attribute selection and grounded in Bayesian estimation. Their implications are explored in the context of a stated preference survey designed to value landscapes in Ireland. Taking account of attribute non-attendance with these data improves fit and tends to involve two attributes one of which is likely to be cost, thereby leading to substantive changes in derived welfare estimates.

Dalek in landscape

The work generates theoretical connections between art history, science - empirical experience,and popular culture. Landscape is used as a medium and process to explore these connections. - landscape appreciation and its origins - the coloniser within the landscape (while landscape seems to be complicit with the colonising force, the land itself often underminds it) - landscape and coloniser as cyborg (an organic core with a 'man-made' chassis).

Liquid landscape (Headland)

A complex structure floats on an undulating colour field. This could be a description of any landscape painting where the built environment, human culture, intersects with the natural world. In Stephen Bush's "Cumberland" (2010) an appropriated landscape supports a log cabin - centrally and ideally placed in a picturesque, alpine landscape. The cabin though, has no relationship to the ground plane, above which it hovers, while its shadows fall in the opposite direction to the buildings and mountains behind it. Bush fetishizes paint, exploring its plasticity and exploiting the viewer's gullibility (as do I). My work realises Bush's aesthetic in three dimensions, extending it to meet with the act of looking, and asks the viewer to merge with the work of art.