Thesis (M.S.) in Forestry--University of Maine, 2004. / Includes vita. Includes bibliographical references (leaves 121-125).

The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.

Orientador: Antônio Carlos Vitte / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-26T08:34:34Z (GMT). No. of bitstreams: 1 Ferraz_MairaKahl_M.pdf: 4357016 bytes, checksum: 6b9c7d94deb68c31c388fcb5bbb6f3a7 (MD5) Previous issue date: 2014 / Resumo: Os métodos e os conceitos científicos são constantemente questionados e revistos, influenciados pela sociedade vigente. Desta maneira o conceito de paisagem que foi utilizado para a sistematização da geografia, também passou por mudanças em suas concepções. A princípio o termo estava muito ligado as artes e a estética, porém aos poucos foi caindo em desuso e se distanciando das ideias artísticas. Este rompimento se deu no século XIX, momento em que ocorria a fragmentação científica e, portanto, o surgimento de vários ramos acadêmicos, dentre deles a geomorfologia. Entretanto este rompimento não foi abrupto e as relações entre geomorfologia e artes perduraram durante este século. Esta pesquisa tem como objetivos reconstruir a trajetória do conceito de paisagem na ciência geográfica, mais especificamente na geomorfologia e o relacionar com os ideais artísticos. Enfatizando as ligações que houveram entre essas duas áreas, evidenciando tanto a influência da arte nos cientistas artistas que usavam a pintura de paisagem como metodologia para o desenvolvimento de suas teorias, como para os artistas cientistas que se utilizavam das novas teorias para representarem a paisagem. Dentre esses artistas selecionamos aqueles que faziam parte da Hudson River School e apresentavam em suas obras tendências científicas mais acentuadas, por terem contato com os cientistas e muitas vezes participarem de expedições de exploração aperfeiçoando seus conhecimentos científicos e os adotando em suas obras. Pois a Hudson River School que é considerada a primeira escola de arte norte americana contava com mais de vinte artistas, com diferenças entre eles, mas também semelhanças sendo a principal delas a pintura de paisagem. O recorte temporal abarcou o século XIX por ter sido o momento primordial para a formação da geomorfologia, e o recorte espacial os Estados Unidos, pois foi neste país que a geomorfologia se desenvolveu e se consolidou. Para desenvolver a releitura da gênese e do desenvolvimento da geomorfologia utilizamos a revisão bibliográfica como metodologia afim de, possibilitar novas probabilidades de interpretação da geomorfologia / Abstract: The current society had influenced the scientific methods and concepts constantly reviewed and putted in question. Therefore, the landscape concept, used to systemize geography, had also changed many of its conceptions. In the beginning, the term was linked with arts and esthetics but as time went on, it grown out of fashion and became more distant from the artistic ideas. This rupture had happened during the 20th century, time when occurred the scientific fragmentation; hence, it appeared many academic fields, among them the geomorphology. Meanwhile, this rupture was not steep and the relation between geomorphology and arts remain until this century. This research has as its objectives to rebuild the path of the landscape concept in the geography science, specifically in the geomorphology, and relates it with the artistic ideals. Highlighting the links between these two areas, showing both the influence of art on the art scientists, who used their landscape painting as methodology to develop their theories, and for the scientist artists, who used the new theories to represent the landscape. Among these artists, we have chosen those who had been part of the Hudson River School and have exposed a more pronounced scientific trend in their works. Once the Hudson River School, which is considered as the first school of art in America, used to have more than twenty artists. Those artists had many differences in the way they represent their work, but also many similarities, where the main similarity remains on the picture of landscapes. The temporal cutout encloses the 20th century, as it has been the core period for the geomorphology set up, and the spatial cutout was the United States, as it was in this country that geomorphology have developed and consolidated itself. To develop the reread of the geomorphology genesis and development we used the bibliographic review as methodology in order to enable new geomorphology interpretations possibilities / Mestrado / Análise Ambiental e Dinâmica Territorial / Mestra em Geografia

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Policy Capturing, a potential methodology for evaluating landscape preference, was described and tested. This methodology, tested and applied in industrial psychology since 1960, results in a mathematical model that theoretically represents the human decision-making process. Under experimental conditions, judges were asked to express their preferences for scenes of the Blue Ridge Parkway (Virginia and North Carolina). A multivariate linear model simulating each judge's decision was computed by regressing landscape preferences onto 10 dimensions thought to influence such preferences. An equation which "captures," or defines the policy of each judge was generated. Individual equations were then clustered and a composite strategy calculated at each step until one overall policy was obtained. Coefficients of determination (R²'s) for some individuals were generally large (>0.50). However, composite R²'s were fairly low (<0.25). Methodological problems concerning the use of policy capturing for landscape assessment along with practical management applications are discussed. / Ph. D.

Measurement of relative near-view scenic beauty and prediction of changes in scenic beauty with timber stand management, grazing, and downed wood management are necessary to integrate scenic beauty into the multiple use decision-making framework. Although traditional landscape quality assessment procedures are of limited use in measuring or predicting the relative scenic beauty of near-view forest scenes, extension of psychophysical methods to measurement of forest scenic beauty offers an approach to effectively incorporate scenic beauty into forest management. Biological and physical variables were inventoried at sites within ponderosa pine timber stands in northern Arizona. Four color slides, also taken at those sites, were later rated for scenic beauty by groups of people, and the ratings were scaled to provide scenic beauty estimates per site. Highly significant multiple regression models, expressing scenic beauty as a function of the biophysical variables, accounted for up to 60, 50, and 80 percent of the variance in scenic beauty for pre-harvest sites, post-harvest sites, and pre-harvest timber stands, respectively. It seems possible at this point to specify a general ponderosa pine model, to be calibrated for specific damage-free areas within the Southwest. Herbage and large ponderosa pine contribute to scenic beauty, while numbers of small pine trees, mechanical ground disturbance, and downed wood, especially as slash, detract from scenic beauty. Areas of northerly aspect, lower overstory density, and less tree clumping were preferred. Moderate harvest tends to improve scenic beauty once the stand has recovered from obvious harvest effects. The recovery period can be greatly reduced by slash cleanup. Grazing can seriously detract from scenic beauty. Up to a point, over the range of practical timber stocking levels, increasing stocking results in greater net present worth from timber, forage, and water yields minus management costs, and lower scenic beauty. Beyond that point both net present worth and scenic beauty decline.

Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.

Form-finding in Architecture looks at processes in nature to discover a more correct way in which to organize building. It is a study into the capability of discovering optimum form, dynamic adaptability, and exposes a set of unique relationships not relevant to Architecture previously. The beauty of these objects does not have to be designed. It is an emergent property of natural form. However, the wonder lies not in aesthetics, but in the manner in which natural forms come into being seemingly without a plan, at a multitude of scales, and in a vast array of materials. Alone, pattern in nature opens a vast array of potentialities for the study into new methods of architectural design. It is important to note that this inquiry will not be into the aesthetics of self-organized pattern, but the mathematical and procedural processes of formation itself. This study forms a set of principles, methodologies and tools for structuring a full-scale form-finding inquiry through the self-organization of pattern in nature. Following this inquiry one should be able to apply the organizational principles of patterning in nature, specifically breakdown patterns, to inform the programmatic design and layout of shopping malls. The rules set forth outline the formation of breakdown patterns, and the ordering of shopping malls. Through the use of parametric modeling software and computer programming language, sets of digital models efficiently explore of the vast number of potential pattern organizations by mimicking their formation in digital space. Through computational scripting, digital models also reveal formation changes due to the adaptation to site, circulatory loads, and spatial distribution, while still maintaining the laws of pattern formation.

In search of mutable tectonics is a research investigation linking principles found in natural systems, investigated by various fields in biology, physics, and mathematics, in the creation of a design methodology in Architecture. Specifically the report looks into natural system with packing and stacking strategies like bone formation, foam or soap bubbles, and sphere packing. Rules and physical observations of the natural are carried forward in the development of a topological language, through digital investigations, which define relationships between variations in spatial configurations and structural members. What we hope to achieve here is that by studying natural systems already realized in the natural world a more adaptive system of design between form, structure and space is immediately established; resulting in the discovery of emergent spaces which intrinsically conveys an emergent structural system and vise versa. The outcome is the creation of an adaptive networked process in the design formulation in Architecture.