15 research outputs found
Modeling of Dead Wood Potential Based on Tree Stand Data
Here we present a framework for identifying areas with high dead wood potential (DWP) for conservation planning needs. The amount and quality of dead wood and dying trees are some of the most important factors for biodiversity in forests. As they are easy to recognize on site, it is widely used as a surrogate marker for ecological quality of forests. However, wall-to-wall information on dead wood is rarely available on a large scale as field data collection is expensive and local dead wood conditions change rapidly. Our method is based on the forest growth models in the Motti forest simulator, taking into account 168 combinations of tree species, site types, and vegetation zones as well as recommendations on forest management. Simulated estimates of stand-level dead wood volume and mean diameter at breast height were converted into DWP functions. The accuracy of the method was validated on two sites in southern and northeastern Finland, both consisting of managed and conserved boreal forests. Altogether, 203 field plots were measured for living and dead trees. Data on living trees were inserted into corresponding DWP functions and the resulting DWPs were compared to the measured dead wood volumes. Our results show that DWP modeling is an operable tool, yet the accuracy differs between areas. The DWP performs best in near-pristine southern forests known for their exceptionally good quality areas. In northeastern areas with a history of softer management, the differences between near-pristine and managed forests is not as clear. While accurate wall-to-wall dead wood inventory is not available, we recommend using DWP method together with other spatial datasets when assessing biodiversity values of forests
Huoli kuvasta : merkitys, mieli, materiaalisuus
This research is a hybrid of a monograph and a multiple-article dissertation. Its
theoretical starting point is a phenomenologically based view of the being of the image,
in which Georges Didi-HubermanÂŽs work plays a central role. For him, as well as for
Mieke Bal, a historical work of art is never only in the distant past only but also exists
in the present actuality. This makes the temporality of the Image extremely complex.
The Image can be encountered only âpre-posterouslyâ (Bal) or by reading it âagainst
the grainâ (Didi-Huberman). The Image is necessarily anachronistic; it is not in time
but opens up time. This fact should be taken into account not only in art history, but
also in art conservation. One of the central aims of this research is critical assessment of
prevailing premises in conservation-restoration and technical art history. This study
attempts to show that instead of being puzzles to be solved, physical art objects are
paradoxical in nature. The Image, in its temporality and materiality, is necessarily
conflictual. The Image discussed in this study is not comparable to the concept of
image which iconography, iconology, Bildwissenschaft, visual studies or semiotics deal
with. The Image discussed here is not an entity but a relation. Edmund Husserl
showed that image consciousness requires a specific kind of intentionality, and
similarly, consciousness of the Materiality of the Image presupposes a consciousness of
a materiality that is ontologically distinct to the Image. The final chapter of the
monograph section offers a view on the materiality of artworks which I call the âOther
Materialityâ. That âthere isâ (il y a) materiality evades perception â it is not
approachable through the analytical methods of technical art history. Yet this sense of
materiality actually precedes any ontic extensity. The five articles complete the themes
discussed in the monograph section. The first article deals with theoretical issues of
conservation-restoration, focusing especially on Cesare BrandiÂŽs theory of conservation.
The second article is a heuristically oriented critical discussion of technical art history
based on Didi-HubermanŽs concepts le détail and le pan. The idea for the third article,
which discusses second order representations of artworks, can be traced back to
HusserlÂŽs lectures on Bildbewusstsein, and to Jean-Luc MarionÂŽs theory of âgivennessâ,
donation. The fourth article deals with artist Jorma PuranenÂŽs photographs. Puranen
has made interventions in several museums, photographing old portrait paintings in
prevailing daylight and using light reflections to make these paintings waver and
make them âundecidableâ in Derridean terms. In the last article I focus on Didi-
HubermanÂŽs thinking, especially on his quasi-concepts that operate on the âbarely
apparentâ region: inframince, informe, visuel, and le pan
PÀÀsy ja vastus: Emmanuel Alloan diafenomenologia taiteentutkimuksen haasteena
Artikkelin laÌhtoÌkohta on filosofista kuvantutkimusta edustavan Emmanuel Alloan tuotanto. Kirjoituksessani pyrin erityisesti valottamaan haÌnen diafenomenologiaksi kutsumaansa laÌhestymistapaa, jossa keskeiseksi nousee Aristoteleelta lainattu âlaÌpinaÌkyvaÌnâ (to diafaneÌs) kaÌsite. Alloa vaÌittaÌaÌ, ettaÌ laÌpinaÌkyvyys â erityisesti sen ambivalenttisuus â on jaÌaÌnyt laÌnsimaisessa ajatteluperinteessaÌ reflektoimatta: ei ole ymmaÌrretty, ettei laÌpinaÌkyvyys tai aistisuus ylipaÌaÌnsaÌ tarjoa vain paÌaÌsyaÌ aistikohteisiin, vaan muodostaa myoÌs vastuksen niiden vaÌlittoÌmaÌlle tavoittamiselle. TaÌmaÌ aistisen resistanssi yhdistaÌaÌ âlaÌpinaÌkyvaÌnâ yhtaÌ lailla kaksijakoiseen mediumin kaÌsitteeseen. Tarkastelen Alloan innoittamana sitaÌ, miten kohtaamme mediumin samanaikaisesti paÌaÌsynaÌ ja vastuksena. Ihmisten vaÌlisten suhteiden tasolla kysymys on siitaÌ, miten kohdata omaan tietoisuutemme naÌhden ulkoinen (vierassieluisuuden ongelma)
Kuvia kaikesta huolimatta â Gerhard Richterin Birkenau ja Georges Didi-Hubermanin Images malgrĂ© tout
Gerhard Richterin Birkenau-maalaussarja (2014) oli nÀytteillÀ viime vuonna Berliinin Alte Nationalgaleriessa. AlkusysÀyksen teoksen valmistumiselle ovat antaneet juutalaisvankien Auschwitz-Birkenaun tuhoamisleirillÀ 1944 salaa ottamat ns. Sonderkommando-valokuvat sekÀ Georges Didi-Hubermanin niiden pohjalta kirjoittama teos Images malgré tout (2004). Artikkelissa esitetÀÀn, ettÀ Richter jakaa Didi-Hubermanin kanssa traumaattisen omakohtaisen suhteen sodanaikaisen Saksan tapahtumiin. Valotan myös Richterin Birkenaun suhdetta joihinkin hÀnen tuotantonsa muihin teemoihin. Laajemmin kÀsitellÀÀn Didi-Hubermanin mainitun teoksen kriittistÀ vastaanottoa, joka liittyi toisen maailmansodan jÀlkeen puhjenneeseen holokaustin kuvallista esittÀmistÀ koskevaan moraaliseen kiistaan. Richterin teokset sulautuvat osaksi nÀitÀ keskusteluja
Kaiken virtaus: Georges Didi-Huberman intensiteettien dramaturgina
Pyrin lĂ€hestymÀÀn artikkelissani Georges Didi-Hubermanin materiaalisuuksia koskevaa ajattelua ottaen lĂ€htökohdaksi Immanuel Kantin esikriittisen negatiivisia suureita koskevan tutkielman (1783) sekĂ€ Gilles Deleuzen teokset Bergsonisme (1966), DiffĂ©rence et rĂ©pĂ©tition (1968) ja Le Pli. Leibniz et le baroque (1988). Viittaan myös Maurice Merleau-Pontyn Le Visible et l'invisible -teoksessaan (1964) esittĂ€miin nĂ€kemyksiin, joiden pohjalta esitĂ€n, ettĂ€ se, mihin Didi-Huberman viittaa termillÀÀn visuel, olisi kÀÀnnettĂ€vĂ€ ânĂ€kyvĂ€isyydeksiâ. EsitĂ€n, ettĂ€ visuel on luonteeltaan kontra-aktualisoituvaa, lientymĂ€ttömĂ€n jĂ€nnitteistĂ€ ja symptomaattista, aivan kuten materiaalisuudet ylipÀÀnsĂ€ Didi-Hubermanin ajattelussa: dialektiikkaa ilman synteesiĂ€