Course Description: How Much More Elaborately Wrought Is The

Course Description How Much More Elaborately Wrought Is The Frame

“... 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

How do our various environments shape our visual understanding, and vice versa? What possible outcomes result from these intersections of time, place, and personal and cultural memories? This course is designed as a ‘sandbox’ approach, where themes, concepts, and practices are introduced, and students are encouraged to consider, explore, and situate their own ideas and interests.

Students will pursue their own areas of interest for their course projects. There is no required textbook; readings will be suggested, with some possibly designated as required.

Paper For Above instruction

The interconnectedness of environment and perception plays a crucial role in shaping our understanding of the world and ourselves. The course "How Much More Elaborately Wrought Is The Frame" explores this intricate relationship through an interdisciplinary lens, emphasizing the dynamic interplay between visual perception, cultural memory, and physical surroundings. By treating these themes as a sandbox, students are empowered to investigate their own interests, fostering personalized and meaningful engagement with the subject matter.

At its core, this course draws on the notion from Simon Schama's "Landscape and Memory" that our perceptions are not purely individual but are mediated by the landscapes and environments we inhabit and interpret. The environment functions as a living, evolving frame that influences how we see, understand, and remember. Conversely, human perception actively shapes and reshapes the landscape through cultural practices, artistic expression, and social memory.

One of the foundational concepts examined in this course is the idea that nature and perception are inseparably intertwined. Schama's assertion prompts students to question traditional dichotomies separating 'nature' from 'culture,' encouraging an exploration of how these categories overlap and inform one another. For example, landscape paintings, historical cartography, and environmental art serve as manifestations of this relationship, revealing how perception is crafted through cultural lenses.

The course also emphasizes the significance of time in shaping perception. Historical landscapes, such as ancient sites or preserved natural environments, embody layers of cultural memory and historical narrative. Students are encouraged to analyze how different periods imbue landscapes with meaning, and how ongoing changes—urban development, climate change, or conservation efforts—affect our perceptions and collective memory.

Personal and cultural memory are central themes, highlighting how individual experiences and societal narratives influence landscape interpretation. Personal memories may be tied to specific places through childhood experiences or personal journeys, while cultural memories are encoded in monuments, literature, and traditions. This dual perspective allows students to understand how collective identities are constructed through environmental narratives.

Practically, the course integrates practices such as landscape analysis, visual studies, and participatory projects. Students might explore topics like the transformation of urban spaces, indigenous landscapes, or culturally significant sites, applying critical frameworks to assess how perception and environment influence each other. The absence of a required textbook encourages reliance on diverse sources, fostering research independence.

Ultimately, "How Much More Elaborately Wrought Is The Frame" aims to inspire students to view landscapes not merely as passive scenery but as active sites of meaning and memory. Through their projects, students will develop a nuanced understanding of the ways environments shape perception and vice versa, illuminating the ongoing dialogue between ourselves and the landscapes we inhabit.

References

• Schama, S. (1995). Landscape and Memory. Vintage.
• Cosgrove, D. (1984). Social Formation and Symbolic Landscape. University of Wisconsin Press.
• Nassar, N. (2002). Art and Environment: Towards a Cultural Ecology. Routledge.
• Tate Modern. (2014). Landscape and Perception. Tate Publishing.
• Matless, D. (2018). Landscape and Imagination. Routledge.
• Gadamer, H.-G. (1986). The Relevance of the Beautiful. Cambridge University Press.
• Rutherford, J. (1998). The Disease of the Landscape: Tourism, Heritage, and the Search for Authenticity. Cultural Geographies, 5(2), 161-181.
• Saito, Y. (2000). Arts of Interface: Japanese Landscape Architecture. University of California Press.
• Harvey, D. (1996). Justice, Nature & the Geography of Difference. Blackwell Publishing.
• Lynch, J. (1960). The Image of the City. MIT Press.