Assignment 2: Personal Environments - How Much More Elaborat ✓ Solved

Assignment 2personal Environments How Much More Elaboratel

Assignment #2 Personal Environments “... how much more elaborately wrought is the frame through which our adult eyes survey the landscape. For although we are accustomed to separate nature and human perception into two realms, they are, in fact indivisible.” Simon Schama, Landscape and Memory

For this assignment, consider the landscapes and overlays that inform your personal relationship with your environment. Start with a visual approach. The idea for this came from what are often referred to as ‘double exposure’ photos. What environments would you show as within you?

Next, make one or some of these images. Print your original photograph on a piece of paper, cut out your shape, and use that as a frame against backgrounds you find meaningful. Take photographs of the resultant compositions using an actual photograph of yourself as the base, and your cut-out should be of your entire self unless you have a conceptual reason for doing otherwise. While it may not be practical to visit all the actual locations that you’d like to use, it would probably be helpful if you can find at least one physical environment to visit. Using photographs as the backdrop is also acceptable, and/or online images if your personal image collection is not accessible. For the purposes of this assignment all locations should be real-world places.

You may create composite images of location + “overlay” if you wish. Finally, write up a short response to accompany your images (500 words minimum). Consider your results within the context of concepts discussed in the introductory class, and/or that are of particular interest to you. Be as critically reflective as you can. Are there any ways in which you see the course theme manifest in the images you created? Does a sense of ‘place’ come through in your images? How do personal and shared-cultural perceptions reveal themselves in your image? Which ones have the most resonance for you? Why? Was there anything that surprised you about the images or your reaction to them? Why? What did you take away from the experience?

Paper For Above Instructions

In the contemporary setting, personal environments have become a significant medium through which our identities, memories, and cultural narratives are expressed. As Simon Schama posits in "Landscape and Memory," the landscape we perceive is inherently intertwined with our human experiences. This intertwining is crucial for understanding how contextual frameworks shape our perceptions and relationships with our environments. This paper explores these themes through a unique visual project that encompasses my own interpretations of place and self.

The assignment directives encourage the creative use of double exposure photography as a method to reflect personal engagement with landscapes. My initial approach involved selecting meaningful locations that resonate with my identity and memories, primarily focusing on sites from my childhood that symbolized comfort and belonging. These sites, such as local parks and forests, embody a significant part of my upbringing, representing both personal and collective narratives that shape who I am today.

For the visual aspect of this project, I printed a photograph of myself against a peaceful background that features the central park near my home. I cut out my image to create an overlay effect, representing the idea of blending into the landscapes that have profoundly impacted my life. This technique illustrates the concept that our identities are essentially molded by the spaces we inhabit and interact with over time.

In crafting this overlay, I reflected on the concepts discussed during the introductory classes, such as the significance of ‘place’ in shaping identities. The photograph of myself set against the park—that holds countless memories—evokes an emotional connection, demonstrating how our backgrounds influence our present. This aligns with Schama’s notion of landscapes being inseparable from human perception. The park, which served as a playground during my formative years, now symbolizes safety and nostalgia. This layer of history is crucial as it informs how I view that space today.

In discussing the resulting images, it is notable how cultural narratives intersect with personal memories. The visual layers created highlight not only my individual experience but also the shared cultural perception tied to the specific environment. The essence of parks as communal spaces fosters a sense of belonging and shared history that resonates with many individuals; it allows us to transcend our solitary experiences and connect with broader societal narratives.

Contrarily, there were elements that surprised me throughout this experience. For instance, while I intended to convey feelings of nostalgia and comfort, the final compositions stirred in me a realization of how transient and fluid our relationships with places can be. The image portrayed not only memories of joy but also feelings of loss, showcasing how landscapes evolve alongside us. This dimension is vital, suggesting that the dialogue between person and place is dynamic rather than static, influenced by time and personal growth.

Reflections like these emphasize the importance of critically examining our surroundings and the frameworks of meaning we attach to them. As I engaged with this project, I recognized that each photograph is an artifact that carries emotional weight—symbolizing interactions between identity and environment. This engagement allowed me to reevaluate my connection to different locations, asserting how integral they are to my narrative.

Ultimately, this assignment has reaffirmed the belief that personal environments serve as vital extensions of self. Our landscapes are not merely backdrops; they are active participants in the formation of our identities. By using visual art as a method for reflection, I can begin to articulate my relationship with my environments, addressing how shared cultural perceptions manifest in individual experiences. The project is a testament to the intricate tapestry of memory, identity, and space that underlies everyday interactions with the landscapes we traverse.

References

• Schama, S. (1995). Landscape and Memory. Knopf.
• Bennett, T. (1995). The Birth of the Museum: History, Theory, Politics. Routledge.
• Massey, D. (2005). For Space. Sage Publications.
• Tuan, Y. F. (1977). Space and Place: The Perspective of Experience. University of Minnesota Press.
• Relph, E. (1976). Place and Placelessness. Pion.
• Casey, E. S. (1996). How to Get from Space to Place in a Famous Land. In Senses of Place.
• Feld, S., & Basso, K. H. (1996). Senses of Place. School of American Research Press.
• Harvey, D. (1996). Justice, Nature and the Geography of Difference. Blackwell Publishers.
• Low, S. M., & Altman, I. (1992). Place Attachment. In Place Attachment.
• Pinker, S. (2003). The Blank Slate: The Modern Denial of Human Nature. Viking Press.