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The Symbolism of Habitat: An Interpretation of Landscape in the Arts (Jessie...

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Last updated on 02 May, 2025 01:16:25 AESTView all revisionsView all revisions

Item specifics

Condition
Very good: A book that does not look new and has been read but is in excellent condition. No obvious ...
Release Year
1990
Book Title
The Symbolism of Habitat: An Interpretation of Landscape in th...
ISBN
9780295969404

About this product

Product Identifiers

Publisher
University of Washington Press
ISBN-10
0295969407
ISBN-13
9780295969404
eBay Product ID (ePID)
83576

Product Key Features

Number of Pages
126 Pages
Language
English
Publication Name
Symbolism of Habitat : an Interpretation of Landscape in the Arts
Publication Year
1990
Subject
Subjects & Themes / Landscapes & Seascapes, American / General, Aesthetics
Type
Textbook
Subject Area
Art, Philosophy
Author
Jay Appleton
Format
Hardcover

Dimensions

Item Height
0.5 in
Item Weight
11.2 Oz
Item Length
9.3 in
Item Width
6.3 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
89-024811
Dewey Edition
20
TitleLeading
The
Grade From
College Graduate Student
Illustrated
Yes
Dewey Decimal
700
Table Of Content
Preface Acknowledgments Symbol, Habitat and the Aesthetic Myth The Analysis of Landscape and the Symbolism of Opportunity The Proof is in the Pudding Notes References Index
Synopsis
When architects create a landscape or building, when artists depict a landscape, and when poets write of nature, they recreate certain aesthetic elements observed in nature. Jay Appleton asserts in an insightful analysis that these aesthetic values in landscape are not found in an elevated philosophy of aesthetics or in a culturally bound artistic symbolism but in the biological and behavioral needs that we share with other animals. Thus, the aesthetics of landscape may be approached through other areas of human experience and science, especially the natural and behavioral sciences. They are expressed in symbolism drawn from a primal habitat in which all animals seek survival. The symbolism we consciously recognize in the arts is of a purposeful religious, mythological, or other culturally specific type. But in the landscape that lies beyond, behind, and around the human, animal, or artifactual subjects exists another symbolism. Appleton believes we should consider the possibility of a natural symbolism representing elements that are crucial to survival in the habitat of living creatures. We need no special education or cultural conditioning to appreciate these symbols, because they speak to our basic biological and behavioral needs. Appleton also proposes terminology for describing the aesthetic elements in landscape. Going beyond concrete nouns--desert, jungle, mountain--he suggests abstract terms indicating features that increase the likelihood of survival: prospect, which allows an animal to see from an elevated place; refuge, which allows it to hide; and hazard, which stirs a feeling of being threatened and wanting to escape. The perception of these elements in a depicted landscape both verifies an individuals ability to survive and elicits an emotional response similar to that felt when they encountered the natural environment. Appleton's natural symbolism of habitat has applications in the visual, architectural, and literary arts. Besides explaining the appeal of depicted landscapes and constructions, he provocatively proposes that no artist (or architect or landscape architect) can ignore these natural elements in creating a pleasurable landscape or created environment. His concluding chapter is an analysis of several paintings, a series of drawings, photographs of landscapes and street scenes, gardens, commercial facades, a high rise building, a row of cottages, and a play structure in terms of his proposed symbolism of habitat. The results are intriguing for anyone interested in landscape design, architecture, and the philosophy of aesthetics, not to mention all who have been moved by a painter's landscape or by a nature poem., When architects create a landscape or building, when artists depict a landscape, and when poets write of nature, they recreate certain aesthetic elements observed in nature. Jay Appleton asserts in an insightful analysis that these aesthetic values in landscape are not found in an elevated philosophy of aesthetics or in a culturally bound artistic symbolism but in the biological and behavioral needs that we share with other animals. Thus, the aesthetics of landscape may be approached through other areas of human experience and science, especially the natural and behavioral sciences. They are expressed in symbolism drawn from a primal habitat in which all animals seek survival. The symbolism we consciously recognize in the arts is of a purposeful religious, mythological, or other culturally specific type. But in the landscape that lies beyond, behind, and around the human, animal, or artifactual subjects exists another symbolism. Appleton believes we should consider the possibility of a natural symbolism representing elements that are crucial to survival in the habitat of living creatures. We need no special education or cultural conditioning to appreciate these symbols, because they speak to our basic biological and behavioral needs. Appleton also proposes terminology for describing the aesthetic elements in landscape. Going beyond concrete nouns--desert, jungle, mountain--he suggests abstract terms indicating features that increase the likelihood of survival: prospect, which allows an animal to see from an elevated place; refuge, which allows it to hide; and hazard, which stirs a feeling of being threatened and wanting to escape. The perception of these elements in a depicted landscape both verifies an individuals ability to survive and elicits an emotional response similar to that felt when they encountered the natural environment. Appleton?s natural symbolism of habitat has applications in the visual, architectural, and literary arts. Besides explaining the appeal of depicted landscapes and constructions, he provocatively proposes that no artist (or architect or landscape architect) can ignore these natural elements in creating a pleasurable landscape or created environment. His concluding chapter is an analysis of several paintings, a series of drawings, photographs of landscapes and street scenes, gardens, commercial facades, a high rise building, a row of cottages, and a play structure in terms of his proposed symbolism of habitat. The results are intriguing for anyone interested in landscape design, architecture, and the philosophy of aesthetics, not to mention all who have been moved by a painter?s landscape or by a nature poem.
LC Classification Number
NX650.L34A67 1990

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