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The first book in the series provides the concept of a theoretical redefinition of'horizontal geographies'. These denote the spatial syntheses as undertaken in various disciplines, whether as regional studies, area studies, new regional geography, and many more. The basis of the redescription is philosophical neopragmatism, which has occasionally been taken up in the spatial sciences, but has never been differentiated into a theory-driven empirical research program. This development of the research program guides the present book. Philosophical neopragmatism, especially as conceptualized by Richard Rorty, focuses in particular on contingency of society, self, and language, which also allows spatial syntheses to be understood not as'images of reality'but as contingent proposals for redescribing spaces. As a result of the complexity of spatial processes, their horizontal geographic study requires a triangulation of theories, methods, researcher perspectives, data, and the involvement of people without expert special knowledge. To highlight the contingency of the spatial syntheses, the presentation of the results - —here especially graphic and cartographic - —resorts to the attitude of irony. Regarding the six levels of trigangulation, neopragmatism acts as a meta-theoretical orientation framework. Against the background of the complexity of spatial developments on the one hand and to operationalize Rorty's principle of private self-creation and public solidarity on the other hand, Ralf Dahrendorf's concept of life chances is drawn upon. Especially in the differentiation of this concept made in this book, it serves on the one hand for an understanding access of the (also spatial) expression of options and ligatures,, and on the other hand it offers a normative framework for the evaluation of socio-spatial developments. The reference to neopragmatic studies on spatial syntheses conducted to date and evaluated in this book shows the potential of the approach elaborated here in conceptual detail for the first time.

Current neuroscience discloses that all emotional feeling originates as movement. Kinesthesia, our sixth sense, begins with movement of muscle cells and ends as emotion. Depth perception, which depends on movement, is always feeling-laden. To be expressive, art must somehow move our bodies. Studies of expressive dance demonstrate that we unconsciously model observed movements, duplicating in ourselves the feelings that generated the dancer's movements. The art of landscape creates choreography for a walk. But each of the fine arts play a role in landscape design. Here, then, is a new theory of landscape that easily extends to all the fine arts, explaining our enjoyment in landscape, as well as aesthetic enjoyment more generally.

This book compiles available knowledge of the response of mountain ecosystems to recent climate and land use change and intends to bridge the gap between science, policy and the community concerned. The chapters present key concepts, major drivers and key processes of mountain response, providing transdisciplinary orientation to mountain studies incorporating experiences of academics, community leaders and policy-makers from developed and less developed countries. The book chapters are arranged in two sections. The first section concerns the response processes of mountain environments to climate change. This section addresses climate change itself (past, current and future changes of temperature and precipitation) and its impacts on the cryosphere, hydrosphere, biosphere, and human-environment systems. The second section focuses on the response processes of mountain environments to land use/land cover change. The case studies address effects of changing agriculture and pastoralism, forest/water resources management and urbanization processes, landscape management, and biodiversity conservation. The book is designed as an interdisciplinary publication which critically evaluates developments in mountains of the world with contributions from both social and natural sciences.

Landschaft ist geteilter Raum – aus dieser einfachen Tatsache ergibt sich eine ganze Palette an Kommunikationsherausforderungen. Denn wo sich Menschen mit ihren Interessen und Ansprüchen arrangieren müssen, ist es mit Regeln und Gesetzen allein nicht getan. Vielmehr müssen alle Beteiligten eine gemeinsame Vorstellung entwickeln, wie Landschaft gestaltet werden kann. Dafür bedarf es überlegter Kommunikationsstrategien, um sich nicht in Einzelperspektiven zu verlieren. Kenneth Anders und Lars Fischer haben für dieses kleine Handbuch ihre Erfahrungen aus landschaftsbezogener Forschung, Planungskontexten und raumbezogenen Kulturprojekten ausgewertet und ein philosophisches Selbstverständnis herausgearbeitet, das als kommunikative Basis von Gesprächen über Landschaft dient. Ihre Methoden hierfür sind vielfältig und reichen vom ethnografischen Gespräch bis zum autorisierten Text, von der kulturwissenschaftlichen Synthese bis zur künstlerischen Verarbeitung. Das Buch soll dazu ermuntern, kulturlandschaftliche Diskurse zu stärken.

This book explores the role of the ideology of nature in producing urban and exurban sprawl. It examines the ironies of residential development on the metropolitan fringe, where the search for “nature” brings residents deeper into the world from which they are imagining their escape—of Federal Express, technologically mediated communications, global supply chains, and the anonymity of the global marketplace—and where many of the central features of exurbia—very low-density residential land use, monster homes, and conversion of forested or rural land for housing—contribute to the very problems that the social and environmental aesthetic of exurbia attempts to avoid. The volume shows how this contradiction—to live in the green landscape, and to protect the green landscape from urbanization—gets caught up and represented in the ideology of nature, and how this ideology, in turn, constitutes and is constituted by the landscapes being urbanized.

Oft wirken erste Gehversuche mit 3D-Visualisierung zu technisch. Stimmung und Atmosphäre werden nicht kommuniziert. Das ist frustrierend und führt dazu, dass gerne zu alt bekannten Kollagetechniken für eine Präsentation gegriffen wird. Die technologischen Entwicklungen im Umfeld der Computergrafik bieten jedoch Möglichkeiten, die mit klassischen Methoden nie erreicht werden. Dies ist einer der Schwerpunkte dieses Buches. Vor dem Hintergrund der Anforderungen des Planungswesens und den Ansprüchen realer Planungsdaten vermitteln die Autoren den Umgang mit digitaler Technik zur Erstellung ansprechender Visualisierungen rund um digitale Landschaften. Alles was Sie als Architekt, Bauingeniur, Planer und Landschaftsarchitekt schon immer zum Thema Visualisierung Digitaler Gelände- und Landschaftsdaten wissen wollten, finden Sie in diesem Buch. Es handelt sich um ein Buch von Praktikern für Praktiker.

Using landscape as its unifying concept, this engaging book explores orchestral music that represents real and imagined physical and cultural spaces, natural forces, and humans and wildlife. Spanning continents and centuries, David Knight links contrasting forms of music through unifying themes of time and space; waterscapes; imagined and mythic spaces; the search for meaning in extreme landscapes; and realms of death, survival, and remembrance. The author also underscores the importance of the physical spaces in which music is performed. Orchestral works are rarely perceived in geographical terms, but Knight, himself an accomplished geographer and musician, offers a deeply satisfying approach to interpreting and appreciating a wide range of music. Comparing classic masterworks from Europe and Russia alongside more recent compositions from the United States, Canada, New Zealand, Japan, and China, this innovative study offers a fresh understanding of the links between music and the worlds around us.