Methods of Nature: Landscapes from the Gettysburg College Collection

Methods of Nature: Landscapes from the Gettysburg College Collection is the third annual exhibition curated by students enrolled in the Art History Methods course. The exhibition is an exciting academic endeavor and incredible opportunity for engaged learning, research, and curatorial experience. The five student curators are Molly Chason ’17, Leah Falk ’18, Shannon Gross ’17, Bailey Harper ’19 and Laura Waters ’19. The selection of artworks in this exhibition includes the depiction of landscape in the nineteenth- and twentieth-century French, American and East Asian cultural traditions in various art forms from traditional media of paintings and prints to utilitarian artifacts of porcelain and a paper folding fan. Landscape paintings in this exhibition are inspired by nature, specific locales and literature. Each object carries a distinctive characteristic, a mood, and an ambience. Collectively, they present a multifaceted view of the landscape in the heart and mind of the artists and intended viewers. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1020/thumbnail.jp

Generating trails automatically, to aid navigation when you revisit an environment

A new method for generating trails from a person’s movement through a virtual environment (VE) is described. The method is entirely automatic (no user input is needed), and uses string-matching to identify similar sequences of movement and derive the person’s primary trail. The method was evaluated in a virtual building, and generated trails that substantially reduced the distance participants traveled when they searched for target objects in the building 5-8 weeks after a set of familiarization sessions. Only a modest amount of data (typically five traversals of the building) was required to generate trails that were both effective and stable, and the method was not affected by the order in which objects were visited. The trail generation method models an environment as a graph and, therefore, may be applied to aiding navigation in the real world and information spaces, as well as VEs

Travels in Architectural History

Travel is a powerful force in shaping the perception of the modern world and plays an ever-growing role within architectural and urban cultures. Inextricably linked to political and ideological issues, travel redefines places and landscapes through new transport infrastructures and buildings. Architecture, in turn, is reconstructed through visual and textual narratives produced by scores of modern travellers — including writers and artists along with architects themselves. In the age of the camera, travel is bound up with new kinds of imaginaries; private records and recollections often mingle with official, stereotyped views, as the value of architectural heritage increasingly rests on the mechanical reproduction of its images. Whilst students often learn about architectural history through image collections, the place of the journey in the formation of the architect itself shifts. No longer a lone and passionate antiquarian or an itinerant designer, the modern architect eagerly hops on buses, trains, and planes in pursuit of personal as well as professional interests. Increasingly built on a presumption of mobility, architectural culture integrates travel into cultural debates and design experiments. By addressing such issues from a variety of perspectives, this collection, a special Architectural Histories issue on travel, prompts us to rethink the mobile conditions in which architecture has historically been produced and received

The Book as a landscape

There is a long tradition of regarding landscapes as texts and texts as landscapes. Characterizing visually experienced nature as a text implies stressing its meaningfulness, its character as a message or an expression. According to an old metaphor that was highly esteemed in medieval Christian culture as well as in early modem science, nature itself is a divine message addressed to mankind, analogously to the holy scriptures, revealing the will of God as the superior "author" to those who are able to decipher the signs. As a consequence of the process of secularization, art gains authority over the signs of nature, and it is the artist who creates messages by composing the elements of the visual world. The idea of interpreting texts as landscapes seems less evident at the first moment; it implies the notion of texts and landscapes as artificial products which depend on an individual human subject's intentions

Invasion of the body snatchers: architecture and virtual space

Architecture, in one sense, has become part of the media: it has an aspect which is symbolic and semiotic, which is as ‘real’ in photography, film, television, advertising, computer games and literature as it is in our experience of landscapes, buildings and machines. But, I shall argue that the media, in one sense, have also become part of architecture, they have an aspect which we perceive as continuous with Cartesian space, and through this pseudo-physical presence they help shape and programme the space of habitation

Genres, user attitudes and prospects for learning through video on the WWW

Building upon the notion that TV and video programmes will soon be accessible via the World Wide Web, there is the question of if and how it can bring added value for education. How will these two genres (working on the Internet vs. relaxing on the sofa) go together? From a post-modern point of view, the mass media (such as TV) contribute to the supposed mechanism of 'social constructionism'. However, the programme makers have a major control over the underlying message that is articulated, whereas constructionism for learning is a more conscious process by which students 'build' new knowledge through experimentation and conceptualizatio

Producing place atmospheres digitally: Architecture, digital visualisations practices and the experience economy

Computer generated images have become the common means for architects and developers to visualise and market future urban developments. This article examines within the context of the experience economy how these digital images aim to evoke and manipulate specific place atmospheres to emphasize the experiential qualities of new buildings and urban environments. In particular, we argue that CGIs are far from ‘just’ glossy representations but are a new form of visualising the urban that captures and markets particular embodied sensations. Drawing on a two year qualitative study of architects’ practices that worked on the Msheireb project, a large scale redevelopment project in Doha (Qatar), we examine how digital visualisation technology enables the virtual engineering of sensory experiences using a wide range of graphic effects. We show how these CGIs are laboriously materialised in order to depict and present specific sensory, embodied regimes and affective experiences to appeal to clients and consumers. Such development has two key implications. Firstly, we demonstrate the importance of digital technologies in framing the ‘expressive infrastructure’ (Thrift 2012) of the experience economy. Secondly, we argue that although the Msheireb CGIs open up a field of negotiation between producers and the Qatari client, and work quite hard at being culturally specific, they ultimately draw “on a Westnocentric literary and sensory palette” (Tolia-Kelly 2006) that highlights the continuing influence of colonial sensibilities in supposedly postcolonial urban processes.This research was funded by the ESRC (RES-062-23-0223)

James Hutton’s geological tours of Scotland : romanticism, literary strategies, and the scientific quest

This article explores a somewhat neglected part of the story of the emergence of geology as a science and discourse in the late eighteenth century – James Hutton’s posthumously published accounts of the geological tours of Scotland that he undertook in the years 1785 to 1788 in search of empirical evidence in support of his theory of the Earth and that he intended to include in the projected third volume of his Theory of the Earth of 1795. The article brings some of the assumptions and techniques of literary criticism to bear on Hutton’s scientific travel writing in order to open up new connections between geology, Romantic aesthetics and eighteenth-century travel writing about Scotland. Close analysis of Hutton’s accounts of his field trips to Glen Tilt, Galloway and Arran, supplemented by later accounts of the discoveries at Jedburgh and Siccar Point, reveals the interplay between desire, travel and the scientific quest and foregrounds the textual strategies that Hutton uses to persuade his readers that they share in the experience of geological discovery and interpretation as ‘virtual witnesses’. As well as allowing us to revisit the interrelation between scientific theory and discovery, this article concludes that Hutton was a much better writer than he has been given credit for and suggests that if these geological tours had been published in 1795 they would have made it impossible for critics to dismiss him as an armchair geologist

Image Based Social Media and The Tourist Gaze A Phenomenological Approach

abstract: The emergence of social media in concert with improved camera and cell phone technologies has helped usher in an age of unprecedented visual communication which has radically changed the tourism industry worldwide. Serving as an important pillar of tourism and leisure studies, the concept of the tourist gaze has been left relatively unexamined within the context of this new visual world and more specifically image based social media. This phenomenological inquiry sought to explore how image based social media impacts the concept of the tourist gaze and furthermore to discover how the democratization of the gaze in concert with specific features of image based social media applications impacts the hermeneutic circle of the tourist gaze. This in-depth analysis of the user experience within the context of travel consisted of 19 semi-structured photo elicitation interviews and incorporated 57 participant generated photos. Six salient themes emerged from the study of this phenomenon; 1) sphere of influence, 2) exchange of information, 3) connections manifested, 4) impression management and content curation, 5) replicated travel photography, and 6) expectations. Analysis of these themes in conjunction with examples from the lived user experience demonstrate that the tourist gaze is being accelerated and expanded by image based social media in a rapid manner. Furthermore, democratization of the gaze as enabled by technological developments and specialized social media platforms is actively shifting the power role away from a small number of mass media influencers towards a larger number of branded individuals and social media influencers. Results of this inquiry support the theoretical assertions that the tourist gaze adapts to social and technological developments and demonstrates that the concept of the tourist gaze is increasingly important within tourism studies. Practical implications regarding the prevalence of real-time information, site visitation, and “taking only pictures” as sustainable touristic behavior are discussed.Dissertation/ThesisMasters Thesis Community Resources and Development 201