The study titled "Visual Pollution of the Tigris Riverbanks in Baghdad City" consists of two main sections: the first section is dedicated to the theoretical framework, while the second section covers the practical aspect (field study). Specific areas of Baghdad were selected for this study due to the widespread presence of solid waste along the riverbanks. The importance of the study lies in the fact that visual pollution is one of the dangerous types of pollution (...) that affects both human health and the environment. The study concluded that visual pollution along the Tigris River banks results from the impact of human activities spread linearly along the river, and the lack of environmental awareness among residents has negatively affected the river environment through the disposal of household and construction waste and the discharge of untreated wastewater from sewage treatment plants. The research recommends the importance of strict monitoring of human activities near the river, imposing financial penalties on violators of environmental standards, and working on rehabilitating and developing the riverbanks to make them attractive environments for residents, turning them into tourist and recreational areas that serve the city. (shrink)

The free association method is often employed in marketing research to investigate perceptions of a particular product or brand in different socio-cultural groups of customers. In our research, international and domestic students produced free associations in response to photographs of outdoor billboards from two different locations in one city (city centre and outskirts). The results indicate that free associations can depict qualitative aspects of outdoor billboards like poor quality (relating to the categories of amateurish and fake), problematic content (relating to (...) female stereotypes, gender stereotypes and cultural differences), and that they have the potential to capture the general atmosphere of the neighbourhood (categories of decay, depression, danger and past). (shrink)

Cities are sites and crucibles of creativity and destruction. How we order and imagine ourselves is revealed by the visible forms of our built environments. Cities are the ultimate material expression of human desire and design. They are also forces of energy and fields of tension that structure our everyday imaginings and activities. How we move, think, act, interact, create and maintain our lives is bounded by what cities provide us. How we make common-wealth and differentiate ourselves from others also (...) determines what cities are and might be for us. This issue explores the urbanism that is Manila in all its vital contradictions. A mega-urban region of over 20 million souls, it is both dynamic and discordant, creative and destructive. Like most global mega-cities, Manila is dangerous to its own citizens – polluted, dense, violent, and poor, with inadequate and badly maintained infrastructure and public utilities, but it is also a fecund incubator of cultural ideas, projects and networks. This issue explore both sides of this Janus-faced city – its urbanism and its visual cultures. Two common threads run through the articles in this issue: first is the dialectic of private and public, and second is the cultural traffic that informs place-making across time through the constant movement of peoples around the world-system and in the ever-pragmatic syncretic and local appropriations of cultural ideas, traditions and artefacts into new configurations, stories and views. As these contributions take issue with visual culture, we have given pride of place to photos, images and artworks themselves. For, as our colleague, Eduardo de la Fuente, has observed in this journal’s pages (2010), the sociology of art is more than a socio-aesthetics. It is also a chronicle of the experience, performance and movement of aesthetic objects lodged in and across institutions, traditions and collective consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:134 When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it —­Genesis 3:6 Abstract Aesthetics has emerged as an important battleground in the moral quest for a lower carbon society. Especially in the case of proposed wind farms (an environmentally benign technology in terms of low carbon emissions), (...) opponents frequently refer to the unsightly machines creating negative landscape impacts and ruining the view. This essay seeks to reflect on the particular ways in which visual aesthetics are framed and mobilized in this moral debate. Exploring the dividing lines between pictoral and more-­ than-­ representational approaches I ask if the moral dilemmas in our landscape decisions (e.g. individual rights to beauty or collective duties toward future generations) are obscured by physical or visual realms. The largely invisible nature of wind, electricity and climate change, set within the physical and tangible nature of landscapes and turbines, challenges us to experience the aesthetics of landscapes-­ with-­ machines through more creative and engaging means that are not limited to visibility, nor deaf to morality. SIN, DUTY, AND THE AESTHETICS OF NATURE As the first act of sin in the bible, Eve’s consumption of a visually aesthetic fruit led to humans being banned from the Garden of Eden. Looking at the above sentence more closely, we could even argue that “good for food” is not a positive condition (e.g. tasty, nourishing), but Justice in the Eye of the Beholder? ‘Looking’ Beyond the Visual Aesthetics of Wind Machines in a Post-­Productivist Landscape DAN VAN DER HORST Dan van der Horst / Justice in the Eye of the Beholder? 135 rather the absence of a negative (e.g. inedible), whilst “also desirable” may sound like the hunger for wisdom was only a secondary, additional attraction. The sentence thus draws attention to the key role of aesthetics in the making of a moral decision; would Eve have eaten the forbidden fruit if it was not “pleasing for the eye”? Aesthetic judgments may be informed by a range of factors, but as this bible quote illustrates, morality is key among them. Associations between right and wrong on the one side and beauty or ugliness on the other, are not exactly rare in written history, be they religious, literary or scholastic works. As a marked contribution to the latter, Immanuel Kant has paid particularly close attention to the links between aesthetics and morality, arguing amongst others that any universal agreement in judgments of the sublime must rest on an appeal to moral feelings.1 But universality is not the only logical link between aesthetic judgementandmorality.Peoplecanfeelasenseof‘duty’tofindcertainthings beautiful e.g. because that is the aesthetic judgment of the group they aspire to belong to.2 Whilst this sense of duty can refer to social conditioning and group belonging, it also has resonance for landscape aesthetics at a time of anthropogenic climate change (a universal threat) when we must “learn to love the low carbon landscape.”3 This presents a point of departure from the debate on the moral obligation of preserving aesthetically pleasing landscapes (as we tend to do through legal designations, e.g. national parks), an ethical logic which leads, to use the words of Holmes Rolston, “from beauty to duty.”4 Moreover a posi­ tive aesthetical appreciation of a landscape because it accommodates low carbon technologies, would potentially require an inverse ethical logic, i.e. from duty to beauty.5 Notwithstanding the clear conceptual links between moral and aesthetic judgment, in everyday life it may be far less clear what kind of moral issues may underpin particular expressions of aesthetic sensibility. This can be particularly problematic for the deployment of environmental technologies (i.e. technologies pursued to reduce pollution ) that have significant landscape footprints. That is where we can find universal moral claims demanding environmental action for the common good rubbing up against aesthetic landscape judgments in places where such developments are proposed. This produces an unsatisfactory situation in which the deployment of clean technologies ENVIRONMENT, SPACE, PLACE / VOLUME 10 / ISSUE 1 / 2018 136 is delayed, tensions within local communities may increase... (shrink)

This paper explores the role and impact of advertising in the French urban planning on citizens’ perception with a close examination of the implications and connections between citizens and outdoor advertising. Significant changes in quantity and form of outdoor advertising have been defined under French regulations. Our knowledge is now mass mediated in public spaces. More and more visible and gargantuan advertising signs surround and even invade our environment for strict commercial benefits. The ‘invasion’ of commercial signs can be compared (...) to a visual pollution affecting our perception, autonomy in thinking and health depending on the part of the population being considered. (shrink)

As the aesthetic of the Polish cities became a topic of wider discussions, it is important to detect the potential role of human-place relations. Two studies were conducted to explore the relationship between place attachment, place identity and appraisal of urban landscape. Satisfaction with urban aesthetic was predicted by two dimensions of place attachment, local identity and national-conservative identity. Place discovered and European identity were also predictors of visual pollution sensitivity. Place discovered is considered as more active type (...) of attachment that permits both a positive bias concerning the aesthetics of one’s city, and a stronger criticism of the elements that can potentially violate the place’s landscape. (shrink)

In recent years, more and more mines have been left idle, and the formed mine wasteland has become a visual pollution of the urban landscape, and the study of landscape design of mine parks has become a focal topic. To address this issue, the sample of this study was selected from Xuzhou Anran Mountain Quarry Abandoned Quarry, to enhance the ecological environment and landscape value of the site through the sample's naturalistic style design and performance. The goal of (...) the study is to explore the innovative design and performance of naturalistic style in the landscape of Xuzhou abandoned quarry park. Methods of this study: observation forms, questionnaires and interview forms, relevant cases and other research methods were used to analyse the overview of mine transformation in China, the landscape characteristics, ecological status and problems of Xuzhou mine wasteland. The design strategy of naturalistic style in the landscape of Xuzhou mine park is proposed.The results of the study show that (1) mine rehabilitation. China's big cities have more mine rehabilitation, and the proportion of cases in small cities is relatively small. (2) Characteristic aspects. Abandoned mines in Xuzhou are characterised by serious ecological damage and chaotic and dilapidated site landscapes. (3) Design strategy. It should be carried out from the ecological restoration and management of the site environment, the aesthetic expression of naturalistic landscape, and the use of natural elements and natural materials. In addition, through the in-depth analysis of the sample landscape design, the originally desolate abandoned mine was transformed into a naturalistic style landscape space, adopting ecological and cultural strategies. The results of the study contribute to the ecological and economic development of the region, and also provide theoretical and practical guidance for the rehabilitation of other mines in China. (shrink)

In recent years, more and more mines have been left idle, and the formed mine wasteland has become a visual pollution of the urban landscape, and the study of landscape design of mine parks has become a focal topic. To address this issue, the sample of this study was selected from Xuzhou Anran Mountain Quarry Abandoned Quarry, to enhance the ecological environment and landscape value of the site through the sample's naturalistic style design and performance. The goal of (...) the study is to explore the innovative design and performance of naturalistic style in the landscape of Xuzhou abandoned quarry park. Methods of this study: observation forms, questionnaires and interview forms, relevant cases and other research methods were used to analyse the overview of mine transformation in China, the landscape characteristics, ecological status and problems of Xuzhou mine wasteland. The design strategy of naturalistic style in the landscape of Xuzhou mine park is proposed.The results of the study show that (1) mine rehabilitation. China's big cities have more mine rehabilitation, and the proportion of cases in small cities is relatively small. (2) Characteristic aspects. Abandoned mines in Xuzhou are characterised by serious ecological damage and chaotic and dilapidated site landscapes. (3) Design strategy. It should be carried out from the ecological restoration and management of the site environment, the aesthetic expression of naturalistic landscape, and the use of natural elements and natural materials. In addition, through the in-depth analysis of the sample landscape design, the originally desolate abandoned mine was transformed into a naturalistic style landscape space, adopting ecological and cultural strategies. The results of the study contribute to the ecological and economic development of the region, and also provide theoretical and practical guidance for the rehabilitation of other mines in China. (shrink)

As more wind energy projects are constructed and placed into operation, their potential downsides are becoming more apparent to a larger number of people. One of the most contentious issues is that of the potential loss of property values for those who happen to own homes close to these projects. This issue may be more parochial and therefore seemingly less important than larger global issues, such as energy independence, sustainability, or global warming. But for those most directly affected by these (...) projects, it can serve as a single proxy for all the other local concerns with wind turbines, such as noise, visual pollution, and health. Moreover, rural homeowners vote in high numbers, and in those locations where there is still local control of wind energy projects, the local politicians will eventually reflect those concerns. The wind energy industry counters these concerns by quoting from a series of industry and government studies that claim to show that proximity to wind turbines does not materially affect home prices. However, their efforts at allaying the concerns of the local homeowners have not been very successful. This article discusses some of the reasons why the industry has been unsuccessful at quelling these concerns, including an evaluation of the evidence from both sides of the wind energy debate as a homeowner might see it and ends with suggestions on how the industry might allay these concerns. (shrink)

Are wealthy neighborhoods visually more attractive than poorer neighborhoods? Past studies provided a positive answer to this question for characteristics such as green space and visible pollution. The condition of streets is one of the characteristics that can not only contribute to neighborhoods’ aesthetics, but can also affect residents’ health and mobility. In this study, we investigate whether street condition of wealthy neighborhoods is different from poorer neighborhoods. We resolved the difficulty of data collection using a dataset that utilized (...) artificial intelligence and laser imaging techniques to collect the data of street condition from 98 zip codes in Los Angeles, CA, and later, we conducted correlations between the metrics of neighborhood affluence and their street condition. Our results showed no positive correlation between neighborhood affluence and the condition of streets. On the contrary, the results favored a negative correlation, indicating that poorer neighborhoods had better streets than wealthy neighborhoods. By discussing possible reasons for these results, we call for future research that would show the direction and the extent of correlation between neighborhood affluence and street condition for other cities and in larger scales. Additionally, we discuss how artificial intelligence and automatic data collection techniques enable us to gather data of street condition for urban planning and management. (shrink)

Concern for global warming, climate change and pollution has grown in recent years, with countries across the world facing natural disasters on unprecedented scales. The communication of environmental protection is therefore a necessary area of enquiry, especially from a Conceptual Metaphor Theory perspective. The present article explores (1) how the themes of global warming, climate change, pollution and activism are conceptualized in a corpus of 51 noncommercial advertisements, (2) the interaction of metonymy with metaphor, (3) the distribution across (...) verbal and visual modes of metaphoric source and target domains, and (4) how value is evoked. Findings show that half of the corpus frames environmental themes through source domains such as weapons, predators and natural disasters. The other half triggers incongruous mappings, such as between concrete entities, and relies on metonymic processes of inference to access the main rhetorical message. Among the most frequent metonymies, CAUSE-EFFECT and CATEGORY FOR SALIENT PROPERTY highlight the negative effects of the represented phenomena. Multimodality usually occurs within source and/or target domains rather than across the metaphoric mapping. Most of the campaigns project mixed value, where a negative evaluation of a theme is accompanied by a positive message, inviting the audience to take action. (shrink)

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. This book foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental design beyond prevailing visual and human-centred modes. (...) The guide expands landscape architects' and urban designers' tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process, and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice, and incorporates theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. The book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to landscape architects, together with other design professionals such as urban designers, architects, geographers and engineers, who play a primary role in the composition of the soundscape. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects (...) not only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe. (shrink)

H. B. D. Kettlewell's (1955, 1956) classic field experiments on industrial melanism in polluted and unpolluted settings using the peppered moth, Biston betularia, are routinely cited as establishing that the melanic (dark) form of the moth rose in frequency downwind of industrial centers because of the cryptic advantage dark coloration provides against visual predators in soot-darkened environments. This paper critiques three common myths surrounding these investigations: (1) that Kettlewell used a model that identified crypsis as the only selective force (...) responsible for the spread of the melanic gene, (2) that Kettlewell's field experiments alone established that selection for crypsis was the most important factor in the spread of melanic forms, and (3) that Kettlewell's investigations in an unpolluted wood near Dorset constituted a control for his earlier Birmingham studies (contra Hagen 1993, 1996). This analysis further identifies two features that distinguish manipulative experiments in evolutionary biology from experiments in other contexts. First, experiments in evolutionary biology rest on a wealth of information provided by strictly observational ecological studies; in the absence of such information experiments in evolutionary biology make no sense. Second, there is a trade-off between how much control investigators have over the conditions being studied and how informative the results of the experiment will be with regard to natural populations. (shrink)

H. B. D. Kettlewell's (1955, 1956) classic field experiments on industrial melanism in polluted and unpolluted settings using the peppered moth, Biston betularia, are routinely cited as establishing that the melanic (dark) form of the moth rose in frequency downwind of industrial centers because of the cryptic advantage dark coloration provides against visual predators in soot-darkened environments. This paper critiques three common myths surrounding these investigations: (1) that Kettlewell used a model that identified crypsis as the only selective force (...) responsible for the spread of the melanic gene, (2) that Kettlewell's field experiments alone established that selection for crypsis was the most important factor in the spread of melanic forms, and (3) that Kettlewell's investigations in an unpolluted wood near Dorset constituted a control for his earlier Birmingham studies (contra Hagen 1993, 1996). This analysis further identifies two features that distinguish manipulative experiments in evolutionary biology from experiments in other contexts. First, experiments in evolutionary biology rest on a wealth of information provided by strictly observational ecological studies; in the absence of such information experiments in evolutionary biology make no sense. Second, there is a trade-off between how much control investigators have over the conditions being studied and how informative the results of the experiment will be with regard to natural populations. (shrink)

This text focuses on how to think the visual culture of disappearance – more closely, disappearance of animals. It takes as its starting point the Ernst Jünger novel The Glass Bees from 1957 in order to start an excavation into obsolescence, animals and the ecological crisis. The aesthetic themes of visibility/invisibility are entangled with the ecological questions of disappearance and pollution. This sort of media ecological question is unravelled, furthermore, with examples concerning the mass extinction of bees, also (...) discussed in Lenore Malen's video installation The Animal That I Am (2009–10). In this way, it argues for a media theoretical understanding of the visual culture of ecocrisis as well as the complex question of epistemology of such a visibility/invisibility. (shrink)

Agriculture is a serious contributor to pollution and other environmental harms, making it an important site of action for the development of environmentally friendly products and practices. However, farmer adoption of such options is varied and dependent on a wide range of factors including the visual appeal of sustainable farming. Recent studies have shown that negative aesthetics related to more environmentally friendly ways of farming can delay or prevent adoption of such practices. Drawing on the concepts of good (...) farming, cultural capital, and the aesthetics of waste, this paper aims to assess the status of biodegradable plastic mulch in relation to a range of alternative and conventional specialty crop growers’ aesthetic perceptions. BDM has the potential to significantly reduce non-biodegradable polyethylene mulch waste, thus addressing serious environmental and human health concerns. However, the aesthetics of BDM may present a challenge. BDM looks identical to PE plastic, and its degradation throughout the season results in scraps in the soil. To investigate aesthetics as a possible barrier to BDM adoption, we conducted five photo-elicitation focus groups with specialty crop growers in Washington State. Results indicate that alternative growers are slightly more adverse to the aesthetics of BDM, especially because of its ‘plastic’ appearance. Conventional growers had higher rates of BDM adoption, even though they felt a strong aesthetic aversion to the messy nature of BDM degradation. Confidence in the product, particularly as a result of education and experience, was believed to be the key to overcoming this negative aesthetic. Study participants offered a variety of ways to enhance the acceptability of BDM, such as making the mulch brown instead of black. These findings have wider implications for the acceptance and adoption of practices that, although environmentally friendly, have an unattractive visual element. (shrink)

The 21st century, in which science and technology developed with great acceleration, made the physical and social distances between people more permeable with the effect of globalization inherited from the previous century. In such an age where everybody is aware of everything, not only positive developments but also all kinds of information, beliefs and actions that may be considered negative for humanity can instantly spread and become widespread all over the world. For example, the adoption of attitudes and behaviors that (...) do not correspond to human values such as consumption, selfishness, narcissism, vanity, arrogance, humiliation, mockery, especially among young people, is worrisome. It is a fact that the generation Z, who was born in the lap of technology, is vulnerable to technology and more susceptible to its damages. In today's world, which is also defined as the age of technology and information, young people can be exposed to all kinds of written and visual information pollution via the internet. Moreover, this situation paves the way for negative attitudes and behaviors such as waste of time and energy, consumption habits, addiction, estrangement from values, alienation, problem of belonging, dissatisfaction among young people. For this reason, this age is polluting the young people not only mentally but also spiritually. Not only the individual themself but also societies have to pay the bill for the inability to satisfy the material and spiritual dimension of the human in a healthy and appropriate manner. For this reason, the education of the new generation is a duty on the family, educators, non-governmental organizations and society as a whole. One of the first and most important steps to be taken in order to protect young people from all these adverse developments and to ensure their participation in the society as a healthy individual is undoubtedly their upbringing with moral values. Because values are the preconditions for a young person to exist as an adult with personality, morality, responsibility, sensitivity to the other and their environment, and who has discovered their own meaning and importance in the world. Therefore, knowing the spiritual-humanistic values of young people, who are the guarantors of the future, will give adults an idea about predicting today and the future and taking necessary measures. The aim of this study is; to determine the spiritual-humanistic value tendencies of high school students. The research was conducted on a total of 450 students studying at different types of high schools in the province of Sinop in the 2019-2020 academic year. The research data was collected through questionnaires and scales from quantitative research methods were analyzed according to age, gender, class, economic status, perception of success, family structure, family attitude perception, duration of social media use and social media usage purpose variables. According to the results of the research, the students got the highest average score (4.28) from moral values and the lowest average score (3.19) from respect value. There is a positive correlation between all dimensions of the spiritual-humanistic values disposition scale. Mann Witney U-Test and Kruskal Wallis H-Test, which are non-parametric tests, were used in the analysis of the scale that did not show normal distribution. According to the test results, there was no relationship between the sub-dimensions of the scale; moral values, love, respect and sensitivity mean scale score and gender, age, perception of success, family attitude perception, duration of social media use and social media use purpose variables, because p> 0.05. However, there was a significant correlation between the point average of moral tendency of the sample group and school type, mother education and father education; between the average score of love value and the school type variable; respect value average score and class, school type, perceived economic situation and mother education; between the mean score of sensitivity value and the variable of family structure (p <0.05). (shrink)

Environmentality teases out the multilayered human-environment contacts and connections in terms of human agency and governmentality, ecological objects and their (in)dependence, power/knowledge and environmental (in)justice. “Sustainable Development Goals” recognize that ending poverty and other deprivations must go hand-in-hand with strategies that improve health and education, reduce inequality, and spur economic growth – all while tackling climate change and working to preserve our environment. This paper outlines the scopes, scales, and methods of Chinese storytelling and multimedia exhibitions on deforestation and afforestation, (...) pollution and purification, and wastelands and eco-systems in industrial, de-industrial, and post-industrial times. The author considers short stories, novellas, novels, reportages, nonfiction writings, and visual artworks, with specific focus on trees, forests, and plant writing. By reading Kong Jiesheng’s “Forest Primeval,” Ah Cheng’s “King of Trees,” Xu Gang’s Loggers, Wake Up!, Yan Lianke’s Garden No. 711: The Ultimate Last Memo of Beijing, and Chen Yingsong’s The Forest Is Silent, the author aims to bring to light the awakening and formation of Chinese ecological consciousness, the token of marred humanity and ecocritical reflection, the manifestation of biophilia-biophobia experiences, as well as the structural transformation of private feelings and public emotions in modern and contemporary China. (shrink)

In this paper, I take up the conciliatory-steadfast debate occurring within social epistemology in regards to the phenomenon of peer disagreement. I will argue, because the conciliatory perspective al-lows us to understand argumentation pragmatically—as a method of problem-solving within a community rather than as a method for obtaining the truth—that in most cases, we should not simply agree to disagree.

Geometry defines entities that can be physically realized in space, and our knowledge of abstract geometry may therefore stem from our representations of the physical world. Here, we focus on Euclidean geometry, the geometry historically regarded as “natural”. We examine whether humans possess representations describing visual forms in the same way as Euclidean geometry – i.e., in terms of their shape and size. One hundred and twelve participants from the U.S. (age 3–34 years), and 25 participants from the Amazon (...) (age 5–67 years) were asked to locate geometric deviants in panels of 6 forms of variable orientation. Participants of all ages and from both cultures detected deviant forms defined in terms of shape or size, while only U.S. adults drew distinctions between mirror images (i.e. forms differing in “sense”). Moreover, irrelevant variations of sense did not disrupt the detection of a shape or size deviant, while irrelevant variations of shape or size did. At all ages and in both cultures, participants thus retained the same properties as Euclidean geometry in their analysis of visual forms, even in the absence of formal instruction in geometry. These findings show that representations of planar visual forms provide core intuitions on which humans’ knowledge in Euclidean geometry could possibly be grounded. (shrink)

The first decade of event-related potential (ERP) research had established that the most consistent correlates of the onset of visual consciousness are the early visual awareness negativity (VAN), a posterior negative component in the N2 time range, and the late positivity (LP), an anterior positive component in the P3 time range. Two earlier extensive reviews ten years ago had concluded that VAN is the earliest and most reliable correlate of visual phenomenal consciousness, whereas LP probably reflects later (...) processes associated with reflective/access consciousness. This article provides an update to those earlier reviews. ERP and MEG studies that have appeared since 2010 and directly compared ERPs between aware and unaware conditions are reviewed, and important new developments in the field are discussed. The result corroborates VAN as the earliest and most consistent signature of visual phenomenal consciousness, and casts further doubt on LP as an ERP correlate of phenomenal consciousness. (shrink)

Visual research methods like photography and digital storytelling are increasingly used in health and social sciences research as participatory approaches that benefit participants, researchers, and audiences. Visual methods involve a number of additional ethical considerations such as using identifiable content and ownership of creative outputs. As such, ethics committees should use different assessment frameworks to consider research protocols with visual methods. Here, we outline the limitations of ethics committees in assessing projects with a visual focus and (...) highlight the sparse knowledge on how researchers respond when they encounter ethical challenges in the practice of visual research. We propose a situated approach in relation to visual methodologies that encompasses a negotiated, flexible approach, given that ethical issues usually emerge in relation to the specific contexts of individual research projects. Drawing on available literature and two case studies, we identify and reflect on nuanced ethical implications in visual research, like tensions between aesthetics and research validity. The case studies highlight strategies developed in-situ to address the challenges two researchers encountered when using visual research methods, illustrating that some practice implications are not necessarily addressed using established ethical clearance procedures. A situated approach can ensure that visual research remains ethical, engaging, and rigorous. (shrink)

Although Joyce was losing his sight when he wrote Ulysses, Stephen's and Bloom's visual experiences are extraordinarily rich and complex. Absorbing the influences of popular visual attractions such as dioramas, stereoscopes and mutoscopes, their perceptions of Dublin are shaped by what Walter Benjamin calls 'unconscious optics'. Analyzing closely the texture of their impressions and of Joyce's prismatic narrative styles, Philip Sicker explores the phenomenon of sight from a wide-ranging set of perspectives: eighteenth-century epistemology, theories of the flaneur, Italian (...) Futurist art, photography, and the silent films Joyce watched in Dublin and Trieste. The concept of 'spectacle' as a mechanically-constructed visual experience informs Sicker's examination of mediated perception and emerges as a hallmark of modernist culture itself. This study is an important contribution to the growing interest in how deeply the philosophy and science of visual perception influenced modernism. (shrink)

Attention makes a phenomenal difference to visual experience, but the nature of this difference is controversial. There are three possibilities. The first is that the phenomenology of visual attention has deflationary content, which is to say that attention makes a phenomenal difference only by modulating the appearance of an attended object's visible features. Secondly, it has novel content—attention contributes unique representational content to visual experience. Thirdly, it has no content—the phenomenal contribution of attention to visual experience (...) is not representational at all. I argue that problems for deflationary content and no content accounts motivate a novel content account of visual attentional phenomenology. I develop a novel content account which avoids challenges that have hitherto been presumed devastating for such views. The resulting theory vindicates representationalism about visual experience and is poised to do the same for experiences in other perceptual modalities. (shrink)

East Asians and Westerners differ in various aspects of perception and cognition. For example, visual memory for East Asians is believed to be more influenced by the contextual aspects of a scene than is the case for Westerners (Masuda & Nisbett, 2001). There are also differences in visual search: for Westerners, search for a long line among short is faster than for short among long, whereas this difference does not appear to hold for East Asians (Ueda et al., (...) submitted). However, it is unclear how these group-level differences originate. To investigate the extent to which they depend upon environment, we tested visual search and visual memory in East Asian immigrants who had lived in Canada for different amounts of time. Recent immigrants were found to exhibit no search asymmetry, unlike Westerners who had spent their lives in Canada. However, immigrants who had lived in Canada for more than two years showed performance comparable to that of Westerners. These differences could not be explained by the general analytic/holistic processing distinction believed to differentiate Westerners and East Asians, since all observers showed a strong holistic tendency for visual recognition. Results instead support the suggestion that exposure to a new environment can significantly affect the particular processes used to perceive a given stimulus. (shrink)