This paper focuses on private residential green space as a site of contested meanings. Recent research points to the emergence of an activism centered on ecological restoration and a shift away from the lawn as the only accepted landscape practice for private green space. However, it is clear that the lawn, a particularly powerful cultural landscape form in residential neighborhoods, still largely dominates this space across North America. This investigation examines the voices of two groups: traditional lawn owners and ecological (...) activists. We observe two sets of discourses centered on private green space. Both groups construct residential green space as a site of identity politics-a site wherein the self is defined as pure and the other excluded as different and necessarily inferior. And both perceive their discourse as ''natural.'' The critical finding is that they are almost entirely oppositional discourses. The contest over what constitutes appropriate landscaping practices for this space provides a locus for bringing to a discursive level, the kinds of socio-cultural perspectives and practices that create and dominate our places in late capitalist society. We suggest that at present the lawn remains a barrier to alternative green space practices. (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)

Despite an impressive number of investigations and indirect evidence, the mechanisms that link patterns and processes across the landscape remain a debated point. A new definition of landscape as a semiotic interface between resources and organisms opens up a new perspective to a better understanding of such mechanisms. If the landscape is considered a source of signals converted by animal cognition into signs, it follows that spatial configurations, extension, shape and contagion are not only landscape patterns but categories of identifiable (...) signals. The eco-field hypothesis, by which cognitive templates are used to identify spatial configurations as carriers of meaning according to an active function, are combined with the sign theory to create an eco-semiotic model of landscape representation. Signs from landscape change in efficacy according to mechanisms of degradation, and metric sign categories have to be considered. An interdisciplinary coalescence is expected by using the theoretical approach in different fields of conservation and resource management and planning. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)

In perceptions of their landscapes the Latvians have denied the existence of the sublime, elevating rural and natural aspects as beautiful and good. While Latvian landscape aesthetics and ethics are based on the profound transformation of nature-landscape attitudes that occurred in Europe during the second half of the 18th century, when ideas of the beautiful, sublime, and the picturesque were debated, the existence of sublime characteristics within the borders of Latvia has not been recognized. In part the attitude derives from (...) the lack of dramatic topography in Latvia. Part of it is due to historic contrasts of sublime wonders in foreign lands with the simple rural beauties and virtues of Latvia. Travelers' observations of rural beauty in specific places reinforced such attitudes. But it is also bound up with the complex history of Latvians as an underclass during colonial rule that began during the 13th century and did not truly end until 1991. As during the 19th century, Latvians began to develop their own national traditions; they used a voluminous collection of rural folk songs on which to build subtle literary and other artistic interpretations of what is moral and beautiful in rural life, work, and landscapes. A particularly important motif in Latvian writing is earth. The ethics of work, social responsibility, and care for living things are a powerful theme. If the sublime is mentioned, it is brought into the compass of the rural and the tame. Sublime elements of nature occur as metaphors for human actions. Thoroughly imbued with the above traditions, the author, at first unselfconsciously, discovered sublime aspects in Latvian landscapes and nature during the course of the past 11 years. It is his belief that as Latvians distance themselves from past colonial rule, they will begin to see their land in a less narrow fashion and recognize its sublime characteristics. (shrink)

Aesthetic value, often viewed as subjective and even trivial compared to other environmental values, is commonly given low priority in policy debates. In this paper I argue that the seriousness and importance of aesthetic value cannot be denied when we recognise the ways that aesthetic experience is already embedded in a range of human practices. The first area of human practice considered involves the complex relationship between aesthetic experience and the development of an ethical attitude towards the environment. I then (...) discuss how aesthetics has played a role in scientific study and the use of evaluative aesthetic concepts in science, such as variety and diversity. The final section shows the connection between the beneficial effects of aesthetic engagement with nature and the restorative value of nature for human well-being. (shrink)

The scientific worldview is based on laws, which are supposed to be certain, objective, and independent of time and context. The narrative worldview found in literature, myth and religion, is based on stories, which relate the events experienced by a subject in a particular context with an uncertain outcome. This paper argues that the concept of “agent”, supported by the theories of evolution, cybernetics and complex adaptive systems, allows us to reconcile scientific and narrative perspectives. An agent follows a course (...) of action through its environment with the aim of maximizing its fitness. Navigation along that course combines the strategies of regulation, exploitation and exploration, but needs to cope with often-unforeseen diversions. These can be positive (affordances, opportunities), negative (disturbances, dangers) or neutral (surprises). The resulting sequence of encounters and actions can be conceptualized as an adventure. Thus, the agent appears to play the role of the hero in a tale of challenge and mystery that is very similar to the "monomyth", the basic storyline that underlies all myths and fairy tales according to Campbell [1949]. This narrative dynamics is driven forward in particular by the alternation between prospect (the ability to foresee diversions) and mystery (the possibility of achieving an as yet absent prospect), two aspects of the environment that are particularly attractive to agents. This dynamics generalizes the scientific notion of a deterministic trajectory by introducing a variable “horizon of knowability”: the agent is never fully certain of its further course, but can anticipate depending on its degree of prospect. (shrink)