Neo-picturesque landscapes are former industrial sites redeveloped as parks in a way that preserves, maintains, and shapes memory of the materials, mechanics, and scale of the industrial age. This paper presents case studies of Duisburg Nord, the High Line, and Evergreen Brick Works. It distinguishes neo-picturesque ruins from archaeological ruins on the one hand and mere redevelopment projects on the other hand; traces a continuity between the eighteenth-century picturesque and the neo-picturesque; pinpoints the distinctive form of (...) memory that the neo-picturesque engages; and defends the importance of the neo-picturesque in contemporary life. (shrink)

The Picturesque (a set of theories, ideas, and conventions which grew up around the question of how we look at landscape) offers a valuable focus for new investigations into the literary, artistic, social, and cultural history of the late eighteenth and nineteenth centuries. This volume of essays by scholars from various disciplines in Britain and America incorporates a range of historically and theoretically challenging approaches to the topic. It covers the writers most closely identified with the exposition of the (...) Picturesque as a theory, and also traces the influence and implications of its aesthetic in a variety of fields in the Romantic period, including literary and pictorial works, estate management, and women's fashion. Several essays deal more specifically with radical critiques and appropriations of the Picturesque in the nineteenth century, while in others, its influence is traced beyond traditionally accepted geographical or historical bounds. (shrink)

This chapter contains sections titled: The Invention of the Picturesque Style Olmsted and Central Park: Ethics, Politics, Aesthetics “The Gates” and the Meaning of the Park Notes.

I begin with a Gerhard Richter painting, and I intend to think backward to Leonardo and Dürer. The history of art lies behind us as a great and convoluted landscape, and our task is to deal with it not as its heirs but as its nonimperialist possessors.In this age of replication and of thinking machines, do we not long for a thoroughly secular authenticity? For example, a hatmaker in a northern Italian town who makes, among other things felucce for students, (...) the furnace man who apologizes for how much the new part costs, an unslick politician who can hug people warmly because he genuinely sympathizes with them? What Wordsworth called "genuine feeling," the opposite of the highly processed world of grant... (shrink)

Adorning the Country with Ruins -- The Western Baroque Landscape -- The Irish Tours -- Designing Picturesque Ireland -- Epilogue: Studies in a Point of View.

In these probing essays, Sidney K. Robinson re-examines the picturesque in its late eighteenth-century phase.

Resumen: Las imágenes de tipos populares se erigieron como repertorios angulares en la conformación de los imaginarios de nación en América Latina, de ahí la importancia de su estudio para comprender la cultura visual decimonónica de territorios como Chile y Perú. Estas representaciones se desarrollaron fundamentalmente a partir de medios manuales, y en ellas se debaten cuestiones de gusto, asociadas a una estética de lo pintoresco, y se evidencian las tensiones y convergencias de varias funciones y demandas de la imagen (...) modélica. Sin embargo, durante la segunda parte del siglo XIX, esta tradición se enfrentará al advenimiento del medio fotográfico. Las repercusiones y transformaciones que esto implicó serán discutidas en el presente artículo, considerando el componente documental e informativo que la fotografía habría potenciado en un repertorio constituido particularmente, aunque no exclusivamente, en una estética de lo pintoresco. De esta manera, el ensayo propone una lectura historiográfica que analiza la constitución de esta tradición mediante casos particulares referidos al contexto chileno y peruano, para luego pensar su reformulación tras la incursión del aparato fotográfico.: Images of popular types and customs were set up as fundamental repertoires in the structure of nation imaginaries in Latin America, hence the importance of its study in order to understand nineteenth-century visual culture in territories such as Chile and Peru. These representations were mainly developed from manual media, in which are discussed matters of taste, associated to an aesthetic of the picturesque; this shows the tensions and convergences of various functions and demands of the model image. However, during the second half of the nineteenth century, this tradition will confront the emergence of the photographic medium. The repercussions and transformations which this implied will be discuss in the present article, considering both the documentary and the informative component that photography would have boost into a repertoire which was mostly constituted, though not exclusively, by an aesthetic of the picturesque. In this way, this paper proposes a historiographic reading that analyses the setting-up of this tradition through particular cases refer to the Chilean and Peruvian context, to think afterwards its reformulation following the incursion of the technical device. (shrink)

The eighteenth century notion of the “picturesque” has been misunderstood by many contemporary environmental aestheticians. This has contributed both to amisunderstanding of the history of environmental aesthetics and, within the discipline, to a misunderstanding of English garden design. This essay contains a discussion of the term as it appears in environmental aesthetics literature and an examination of the history of the term as used in eighteenth-century garden design literature. This history is used to contest the account of the term (...) as used by contemporary environmental aestheticians and to develop a philosophically more interesting interpretation of it. (shrink)

This chapter discusses the concept of the picturesque in the sense of admiring nature as “picture-like” and, consequently, inauthentic. A contrasting view regarding the interpretation of the picturesque, which is more acquiescent to the contemporary love of wildness and environmental philosophy, is presented and explored through the works of Price and Watelet. In reassessing the picturesque, six themes are identified in their works, namely, variety, intricacy, engagement, time, chance, and transition. This alternative view of the picturesque (...) shows that, contrary to the belief that it forced a “picture-like” representation of nature, it actually acted as a guide toward a new appreciation of wildness. The current interest in preserving pristine wilderness or rural landscapes represents a current interest in wild nature. (shrink)

Even as art theory and analytic philosophy have failed to connect in their studies of photography, the two disciplines have joined in tying conceptions of the specific character of photography to ideas about automaticity and agency.1 In rough caricature, the philosopher reasons: “An item is a work of art only insofar as it is the product of agency, so a photograph is not an art work insofar it is not the product of artistic agency. After all, in Lady Eastlake's colorful (...) words, the ‘obedience of the machine’ in photography is no ‘picturesque agent.’”2 This much is accepted both by philosophers who go on to conclude that photography is not an art and also by those who defend the contrary.3 The reasoning on the side of theory and criticism often goes, again in caricature, as follows: “Art works sometimes result from a suppression of agency, and the distinctive ‘obedience of the machine’ in photography is no ‘picturesque agent,’ so the automatism of the photographic machine shapes the distinctive profile of photographic art.” The triadic assemblage of the medium, automatism, and agency is clearly more than a trope in writing on photography; it regulates and structures reasoning about photography, even as it sends that reasoning off in remarkably divergent directions in different disciplines. In the spirit of the nudge towards convergence that this special issue represents, this afterword develops some thoughts that are sparked by and that offer a friendly challenge to the preceding papers. In brief, the triad that controls thinking about photography across disciplines depends on some rather demanding conceptions of agency and automatism. As it turns out, less demanding conceptions of agency and automatism pave the way to a new and more modest conception of the specificity of photography as an art medium. If our common ground is what keeps us apart, perhaps we should find some new common ground? (shrink)

Many environmental aestheticians—most prominently, Allen Carlson—have drawn a distinction between “arts-based” and “nature-based” approaches to the aesthetics of nature and have argued that the widespread practice of using arts-based theories and categories to understand the aesthetics of nature is a mistake. This practice, they argue, should be rejected and replaced by a practice in which an aesthetics of nature based on a clear, scientifically grounded understanding of the environment is used to appraise nature. In this paper, I will challenge important (...) parts of this argument through a discussion of an example often used by these environmental aestheticians in developing their arguments: namely, landscape.. (shrink)

The legal language of lawyers and judges is generally dry and factual but an examination of the rulings of Israeli Supreme Court justices shows that at least some of them use very picturesque speech to support their positions. This paper describes the use of figurative language as employed by Israeli Supreme Court justices in their writing of verdicts. Examples of the use of metaphors, metonymy, word play, imagery, oxymorons, parables and allegory are cited and discussed.

The picturesque is usually interpreted as an admiration of 'picture-like,' and thus inauthentic, nature. In contrast, this paper sets out an interpretation that is more in accord with the contemporary love of wildness. This paper will briefly cover some garden history in order to contextualize the discussion and proceed by reassessing the picturesque through the eighteenth century works of Price and Watelet. It will then identify six themes in their work (variety, intricacy, engagement, time, chance, and transition) and (...) show that, far from forcing a 'picture-like' stereotype on nature, the picturesque guided the way for a new appreciation of wildness—one that resonates with contemporary environmental philosophy. (shrink)

Debate concerning virtual reality is often drawn in terms of sharply defined dichotomies--for example, between "real" (or "actual") and "virtual," "authentic" and "inauthentic," and "natural" and "artificial." In this paper we offer an alternative approach by suggesting a conception of a virtual world that highlights a continuity and commonality with our sense of everyday reality. We accomplish this in part by an examination of the English picturesque garden as if it were a virtual world partially constructed out of ideas (...) and objects collected during travels to foreign lands on the Grand Tour. Such foreign travel transformed not only the English person's sense of self, but also altered the English landscape. We conclude that in one sense the "real" England is also a "virtual" reality. (shrink)

Focused on Nandi Timmana’s sixteenth-century Telugu epic poem, Pārijātāpaharaṇamu, this article analyzes citrakāvya, a genre of poetry that includes various kinds of patterned verses, word puzzles, and figural poems. The seventeenth-century Telugu grammarian Appakavi outlines three genres of citrakāvya: 1) citrakavitvamu ; 2) bandhakavitvamu ; and 3) garbhakavitvamu. Timmana employs all three genres of citrakāvya in Theft of a Tree 5.92–99, which are set in the voice of Nārada praising Kṛṣṇa as god. Rather than reading citrakāvya as simply a form (...) of alaṅkāra, I argue that citrakāvya primarily functions as a form of stotra in the context of Timmana’s Theft of a Tree. Shifting the flow of his rather fast-paced narrative, Timmana intentionally uses citrakāvya to praise and even capture god through the complex figuration of syllables and sounds. Timmana’s citras are essential to scripting a new layer of the pārijāta narrative, one that highlights the voice of the poet himself speaking to his god. (shrink)

This comprehensive survey is particularly valuable for the intelligence and originality with which it approaches aesthetic speculation. The author permits the original texts to serve as the basis of his study, and exhibits each of the major aesthetic systems of the period as an integral whole involving logical and psychological principles. Each of the writers chosen from the tradition is criticized in his own terms, without detracting from the originality of his contribution to the body of aesthetic theory. A few (...) of the lesser-known aestheticians of the 18th century here receive fuller discussion than has previously been available.--J. F. D. (shrink)

Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective (...) and morally engaged. I then examine two contemporary positions concerning appropriate aesthetic appreciation of nature, the aesthetics of engagement and scientific cognitivism, assessing each in terms of the requirements of environmentalism. (shrink)

This book addresses the philosophical question of "What is landscape?" From the birth of the genre of "landscape painting" in the 16th century, Western culture has valued landscapes in terms of their "picturesque" or "painterly" qualities. The creation of the "English landscape garden" was influenced by landscape painting, and "picturesque travel," which became popular in England in the 18th century, sought to recreate the experience of viewing landscape paintings in nature. 1. The book labels this view of landscape (...) that seeks the epitome of landscape in "picturesque" images reminiscent of landscape painting as "the aesthetics of spectacular scenery," traces its genealogy from the late 16th century to the early 19th century, and reveals its "anti-modern" character. 2. It asserts that the "aesthetics of spectacular scenery" is a dystopia of "hortus conclusus," drawing upon John Ruskin's criticism of the "picturesque." 3. The book then clarifies that landscape must be defined not as an "image," but as the "horizon." The "horizon" is the periphery of our consciousness, always present yet somehow perceived. However, certain stimuli draw our attention to this non-thematic object of consciousness. When the non-thematic becomes unexpectedly thematic, the landscape appears to us as the very "thing that was the horizon." The landscape is not an image or a physical structure. To experience a landscape is to receive "what was the horizon" exactly as it is given and to experience it in the context of the world as a whole. (shrink)

The old, historical concept of ‘disinterestedness’ has dominated the tradition of aesthetics for almost two centuries. In environmental aesthetics, a rather recent branch of aesthetics, some scholars such as Arnold Berleant have criticized disinterestedness, claiming that it is not a satisfactory criterion since it views the environment as an artwork. As an alternative, Berleant proposes a theory of the ‘aesthetics of engagement’. I claim that although his main intention is to introduce a comprehensive perception of nature, ‘appreciating nature as nature’, (...) into the aesthetics of nature, Berleant misinterprets ‘disinterestedness’ and overlooks the fact that it can still be maintained within environmental aesthetics. Disinterestedness can guide our judgements with the notions of non-instrumentality, transparent self, and impartiality. In this sense, I argue that the proper opposite of engagement is not disinterestedness but a dominant concept of aesthetics left over from the eighteenth century, the ‘picturesque’, in contrast to holistic accounts of the philosophers who look for an immersion-of-self-in-a-bigger-Self, disinterestedness provides being devoid-of-any-empirical-self and disinterestedness is not anthropocentric, but anthropogenic, human-generated, which accepts the ‘otherness’ of nature and opens the way for respect and care in environmental ethics. (shrink)

Picturesque Galaxidi, with its good harbor (eulimenos politeia) and rich nautical tradition, was constructed on the site of ancient Chaleion. The continuous habitation of the site as well as the fact that ancient stone blocks were used to build the modern harbor facilities have contributed to the extensive destruction of the ancient structures, and in particular of the fortifications. These last, which were likely founded in the late 4th century BC, are preserved in fragments among the modern city. This (...) paper gathers the results of previous and more recent studies, mainly of a rescue nature. Its aim is to graphically reconstruct, with the greatest possible degree of accuracy, the course of the walls, and to understand the defensive function of the fortification in the context of contemporary siege operations. (shrink)

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and in (...) the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (shrink)

Cet ouvrage aborde l'histoire de la notion de pittoresque sous quatre angles : les développements initiaux des théories et des horizons du pittoresque entre la Renaissance et l'aube du romantisme ; la diversification des objets, des acteurs et des formes de sa quête dans le courant du xixe siècle ; les écritures du pittoresque dans la littérature européenne du xixe siècle ; la problématique du désenchantement/réenchantement du pittoresque au xxe siècle.

The British Aesthetic Tradition: From Shaftesbury to Wittgenstein is the first single volume to offer readers a comprehensive and systematic history of aesthetics in Britain from its inception in the early eighteenth century to major developments in Britain and beyond in the late twentieth century. The book consists of an introduction and eight chapters, and is divided into three parts. The first part, The Age of Taste, covers the eighteenth-century approaches of internal sense theorists, imagination theorists and associationists. The second, (...) The Age of Romanticism, takes readers from debates over the picturesque through British Romanticism to late Victorian criticism. The third, The Age of Analysis, covers early twentieth-century theories of Formalism and Expressionism to conclude with Wittgenstein and a number of views inspired by his thought. (shrink)

This paper motivates, explains, and defends a new account of the content of thought experiments. I begin by briefly surveying and critiquing three influential accounts of thought experiments: James Robert Brown’s Platonist account, John Norton’s deflationist account that treats them as picturesque arguments, and a cluster of views that I group together as mental model accounts. I use this analysis to motivate a set of six desiderata for a new approach. I propose that we treat thought experiments primarily as (...) aesthetic objects, specifically fictions, and then use this analysis to characterize their content and ultimately assess their epistemic success. Taking my starting point from Kendall Walton’s account of representation (Mimesis as make-believe, Harvard University Press, Cambridge, 1990), I argue that the best way to understand the content of thought experiments is to treat them as props for imagining fictional worlds. Ultimately, I maintain that, in terms of their form and content, thought experiments share more with literary fictions and pictorial representations than with either argumentation or observations of the Platonic realm. Moreover, while they inspire imaginings, thought experiments themselves are not mental kinds. My approach redirects attention towards what fixes the content of any given thought experiment and scrutinizes the assumptions, cognitive capacities and conventions that generate them. This view helps to explain what seems plausible about Brown’s, Norton’s, and the mental modelers’ views. (shrink)

In the following text I provide my response to the three reviewers of my book titled “Reviewing the Past. The Presence of Ruins”. First I list a few elements that all the reviewers highlighted. Then, I answer the insightful comments and detailed observations brought forward by them, organised in thematic structures. In this part I start with the three main criteria and the agency of Nature in ruination. Then I investigate the issues regarding the so-called “contemporary ruins”. Ruins’ environmental character, (...) context and sitedness are put into focus in the next section, to finally arrive to the equally inspiring questions of picturesque, sublime and to the issues of representation. (shrink)

Thought experiments in science are merely picturesque argumentation. I support this view in various ways, including the claim that it follows from the fact that thought experiments can err but can still be used reliably. The view is defended against alternatives proposed by my cosymposiasts.

Some of the fundamental lessons of the so-called revolution against descriptivism that occurred in the 70s are negative and it is not immediately apparent what kind of semantic theory should emerge as regards proper names, the alleged paradigms of genuinely referential terms. Some of the claims about names, most notably Ruth Barcan Marcus’ characterization of names as tags, appear to be too picturesque to provide the basis for a positive theory and, without a theory, it would seem that the (...) referential link between name and bearer is established by pure magic. Some authors have appealed to the causal-historical picture to construct a positive theory, and have endorsed causal descriptivism, a variety of descriptivism that incorporates causal factors. I argue against causal descriptivism and I assess the demand for a positive semantic theory of names. (shrink)

From a discussion of Einstein’s theories to an analysis of meaning, the philosopher offers a fascinating collection of essays on a wide range of topics. This is a collection of many of Whitehead’s papers that are scattered elsewhere. It was the penultimate book he published, and represents his mature thoughts on many topics. Philosophical Library has done a great service by publishing a representative collection of his writings on the subjects of Philosophy, Education and Science. The portion on Philosophy includes (...) five papers: “Immortality”, “Mathematics and the Good”, “Process and Reality”, “John Dewey and His Influence” and the “Analysis of Meaning.” The first three chapters consist of Whitehead’s personal reflections illumined by flashes of his lively humor. They are picturesque and amusing. The remainder of the book consists of chapters on Philosophy, Education, and Science. They cover in depth his positions on many scientific and philosophical matters in an extraordinarily unified way. The final section of the book is devoted to excellent surveys of Geometry and Mathematics as well as a paper on Einstein’s theories. (shrink)

The first three chapters are personal history, highly picturesque and amusing, illumined by flashes of his lively humor....From here the chapters go on into Philosophy, Education, and Science. covering a span of thrity years though these writings do, they are surprizingly unified. Atlantic.

The order in which Plato’s thoughts follow upon one another in the Republic is logical, but the dramatic or the picturesque medium through which he is constantly presenting his ideas disguises the logical structure of the work.

A term of relatively recent mintage, coined by German scientist Ernst Haeckel in 1866, ecology draws on ancient Greek to establish and consolidate its meaning. Although scholars all too often overlook it, the anachronistic rise of ecology in its semantic and conceptual determinations is noteworthy. Formed by analogy with economy, the word may be translated as “the articulation of a dwelling”, the logos of oikos. Here, I argue not only that a vast majority of ecosystems on the planet are subject (...) to environmental upheavals and ecological crises, but also that ecology as the crossroads of dwelling and articulation is in crisis, having come into its own and made explicit what was silently present in its historical enunciation. As a result, ecology needs to be deromanticized, decoupled from the bucolic and the picturesque, and dissociated from nativism and autochthony. Every organism, ecosystem, or place is affected by the forces of unsettlement and displacement; all dwellings and their articulations are shaken to the core and set in motion, rendering ecologies exilic. Ecologies today share the exilic condition, which also threatens to level the differences among them, without the chance of returning to a stable origin, itself nothing other than a theoretical fiction. In what follows, I propose to chalk out the outlines of exilic ecologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 109-111 [Access article in PDF] Seventh International Buddhist-Christian Conference David W.Chappell Soka University of America Pack your bags! The annual meeting of the Society for Buddhist-Christian Studies in Nashville decided that the next international conference will be held August 5-12, 2003, in Chiang Mai, Thailand.An invitation was extended to the society by Dr. John Butt, director of the Institute for the Study of Religion and (...) Culture (ISRC), and by the president of Payap University, Dr. Boonthong Poocharoen. As a Presbyterian faculty member of the McGilvary Faculty of Theology, John has extensive interreligious experience in Thailand and participated in the society's last international conference held in Tacoma, Washington, in August 2000.The institute's associate director, Professor Saeng Chandrangam, is a former Buddhist monk and is one of Thailand's most highly respected Buddhist laymen. He was Chair of the Department of Oriental Studies and the Department of Modern Languages and was Dean of Humanities of the government's Chiang Mai University, where he taught philosophy and theology. Currently he teaches at a Buddhist university in Chiang Mai as well as serving as the associate director ofISRC. Also, Donald Swearer, who has been active with the society since the first international conference in 1980, will be in residence in Chiang Mai in the springs of 2002 and 2003 and can help plan the conference.Payap University was founded in 1974 by the Church of Christ in Thailand, a consortium ofThai Christian congregations begun by Presbyterian, American Baptist, and Disciples missionaries. However, about 95 percent of Payap University's nine thousand students are Buddhist since Chiang Mai is centrally located in the Burmese-Thai axis with the heaviest concentration of Buddhists in the world. As a result, the conference will be set in a context of Protestant missions within a Theravadin Buddhist culture. This setting will increase the presence of conservative and evangelical Christians, as well as Theravadin Buddhists, to serve as an important balance to the already strong Mahayana and Catholic dialogue leaders in our international conferences. John wrote that "Holding the next conference here would demonstrate that there are other forms of Christian faith quite different from that represented by the evangelical missionaries" and that there are other ways of understanding and approaching other different religious communities. Accordingly, a possible theme [End Page 109] might be "Rethinking Mission Motivation and Practice (both Buddhist and Christian) for the Twenty-first Century."Chiang Mai is a city of a population of about three hundred thousand that preserves much of the charm of traditional Thai culture, while also having modern conveniences like Western fast foods and ATMs, but has not yet succumbed to the congestion of Bangkok. Its weather should be in the eighties or nineties and its hotels are inexpensive (about twenty-five dollars per day for two). The meetings at Payap University will be in air-conditioned rooms in a picturesque setting. Payap has three campuses and is affiliated with the McCormick Hospital. It offers twenty-four undergraduate degrees, as well as master's degrees in divinity, linguistics, business administration, international business, Teaching English as a Foreign Language, philosophy, and Christianity.Payap University can draw on considerable experience for hosting foreign programs. The vice president for external affairs, Martha Butt (wife of John), heads a committee that has planned, developed, and operated the in-country segments of all the Thai Elderhostel programs involving over three thousand participants. Also, they will be joined by faculty members from Mahidol, Chulalongkorn, and Thammasat Universities, including Dr. Parichart Suwanbubbha of Mahidol University, a Thai Buddhist (with a degree from Chicago comparing the concepts of karma and grace), who attended the Tacoma conference in 2000.ISRC is located on the Crystal Spring campus of Payap University and was founded in 1996 to serve as a research and study center for scholars and others interested in the comparative study of religion and culture. The institute's primary goal is to provide and nurture a broad ecumenical religious vision for the people ofThailand and Southeast Asia and for others visiting or working... (shrink)

Old Havana: Spirit of the Living City artistically captures the architecture, people, and daily life of La Habana Vieja through the lenses of two visionary photographers and colleagues, one American and the other Cuban. Chip Cooper and Néstor Martí began collaborating in 2008, documenting the picturesque features of the oldest and most historically rich quarter in Cuba's capital city at the behest of Eusebio Leal Spengler, the historian of the city of Havana and the director of the Habana Vieja (...) restoration project. Cooper's and Martí's images highlight the spirit of change and renewal underlying the restoration of this international treasure and its revival as a vibrant business and residential area. Inspired by the work of twentieth century American photographer Walker Evans, Cooper and Martí, through perspectives both unique and deeply entwined, capture the humanity of the city, in a language at once universal and transcendent. (shrink)