<i>Topia:</i>Landscape before Linear Perspective

Dora, Veronica della

doi:10.1080/00045608.2011.652882

Cited by 14 publications

(4 citation statements)

References 45 publications

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“…Evolving in the military context, the peculiarity of aerial photography is necessarily embroiled with the idea of cold, hunting, distanced and simultaneously penetrating gaze; a mastering God's-eye view, which implies a way of controlling and dominating space, that geographers, cultural theorists, and art historians have amply described (Adey 2013;Bryson 1983;Cosgrove 1994;Della Dora 2013;Jay 1993). This connotation cannot be overlooked in a reflection on the essence of aerial photography, even when, in the contemporary discourse surrounding the climate change, automatized sophisticated technologies give the impression society has entered an era of "nonhuman vision" that is able to go beyond the detachment of human kind from its habitat.…”

Section: Discussionmentioning

confidence: 99%

Training the eye: production and reception of aerial photography during the World Wars

Quagliati¹

2020

Auc Geographica

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This paper explores the entanglement between photography and aerial military operations during the World Wars, showing how, in warfare, the camera became a technology of power serving a dual purpose: 1) It was a weapon used to map the territory as well as to detect and bomb specific targets, and 2) it constituted a powerful propagandistic medium employed to circulate persuading and aesthetically innovative aerial vistas among civilians. The technological and industrial sophistication that was adapted to the modern aerial battlefield required optical and photo-developments. These technical improvements challenged military activity while also reshaping civilians' perception and conception of the landscape as well as determining new aesthetic canons. At the core of this article there is the notion of training of the eyeunderstood as the process, which involved both experts and the general public, of assimilating new photographic vistas from the sky. Using mostly the North American and German frames of reference, and interweaving military technology, visual culture, and landscape studies, this paper analyzes production and reception of "the view from above" mainly through mass-market illustrated magazines, such as the American Life and the German Berliner Illustrirte Zeitung. Developed within the military context, the peculiarity of aerial photography became embroiled with the idea of a cold, hunting, distanced and simultaneously penetrating gaze. However, recent scholarship understands the aerial view differently, due to the latest use of aerial photography for environmental science, and with the purpose of raising public awareness on the devastating ecological impact of industrialization and militarization. The contemporary progression from aerial photography to satellite imagery can in fact be interpreted along two directions: the God's-eye view of surveillance and/or the bird's-eye view of environmental care.

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Section: Discussionmentioning

confidence: 99%

Training the eye: production and reception of aerial photography during the World Wars

Quagliati¹

2020

Auc Geographica

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“…Bergson illustrates this problematisation of memory through déjà vu understood as an illusionary experience of having already lived through a present moment. Responding to the connected problems of mechanistic and finalist theories of time and ontogenesis (Williams 2022, 489), for Bergson (2002) déjà vu reflects the autonomous capacity for memory to arrive unsummoned from the whole of timewhat Deleuze (1988) terms the "virtual" coexistence of the pure past. As Ansell-Pearson (2018, 76) summarises, an ontogenetic approach to memory thus begins with the contention that "memory is not in the brain but rather 'in' time, but time is not a thing, it is duration hence nothing can be 'in' anything".…”

Section: Thinking Nuclear Memory For Nuclear Waste Futuresmentioning

confidence: 99%

“…For example, emphasis has been placed on the relationship between landscape and collective memory of identity belonging to territory and nationality (Paasi 2020; Tolia-Kelly 2016; Wylie 2007). Also engaging with the relation between memory and landscape, but in conversation with historical-cultural geographies, della Dora (2013, 696) focuses on ancient Roman and Byzantine understandings of memory as “an embodied practice depending on mental and corporeal attitudes but also one heavily grounded in and interacting with landscape's matter, colours, forms, and with their specificities”. Second, there has also been particular emphasis on non-representational and affective approaches (DeSilvey 2012; Drozdzewski 2018; Jones 2015; Sumartojo 2021).…”

Section: Thinking Nuclear Memory For Nuclear Waste Futuresmentioning

confidence: 99%

Nuclear memory: Archival, aesthetic, speculative

Keating

Storm

2023

Progress in Environmental Geography

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This article assays geographical research into nuclear cultures, and cognate conversations in atomic heritage, toxic waste studies, and memory and landscape studies, as one way to develop the notion of nuclear memory. In doing so, we survey how geographers and social scientists have sought to think and communicate memory of nuclear things through three specific modes: the archival, the aesthetic, and the speculative. Our central argument is that nuclear memory provides a theoretical orientation for geographers to engage with alternative possibilities for thinking nuclear waste futures besides anthropocentric notions of common sense.

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“…Thus, the things do not appear as they once were but are altered in relation to the materialities at the site. In a similar manner, the coming into the presence of an absent past is “an embodied practice depending on mental and corporeal attitudes but also one heavily grounded in and interacting with landscape’s matters, colors, forms, and with their specificities” (Della Dora, 2013, p. 696).…”

Section: The Surface Aesthetics Of Urban Photography With Regard To Amentioning

confidence: 99%

Glass Architecture as a Site for Encountering the Surface Aesthetics of Urban Photography

Nordström

2017

Space and Culture

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This article brings glass architecture and geophilosophy into a relationship with one another with the further aim of studying surface aesthetics of urban photography. First I present a selected history of glass architecture and its previous methodological applications. Then, I focus on the characteristics of glass architecture—its permeability/reflectivity and capacity to act with light—in relation to the geophilosophies of Nietzsche and Deleuze. I aim to formulate surface aesthetics through which I contemplate the materialities and the fabulative landscape of urban photography. Urban photography is valued for its characteristic of combining the practices of art and research. In this article, urban photography is also understood as an affectual encounter. However, for urban photography to be seen as a creative medium, it has to be acknowledged as not merely making aesthetic representations of the world but also opening a landscape in order to see it differently and ask new questions.

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Topia:Landscape before Linear Perspective

Cited by 14 publications

References 45 publications

Training the eye: production and reception of aerial photography during the World Wars

Training the eye: production and reception of aerial photography during the World Wars

Nuclear memory: Archival, aesthetic, speculative

Glass Architecture as a Site for Encountering the Surface Aesthetics of Urban Photography

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