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Edited by Pascale Guibert

Too many landscapes have been reduced to silent commodities by being put into golden frames on top of our fireplaces. Too many landscapes have been reified by being considered as objects holding forth referents to an omnipotent looker-on, with his/her language ever ready to seize and transcribe. The articles gathered here, prolonging an international conference held at the University of Caen Basse-Normandie (France), 14-16 June 2007, set the landscapes loose again by engaging with their essentially relational quality.
What makes this volume particularly stimulating and critically innovative is this initial acknowledgement of a landscape’s reflectiveness – that is the fact that it contains unthought thought, and thus presents itself to us both passively and actively. This straightaway appraisal of the lines of flight in the seemingly static, tranquil images facing us, has opened the way to deeply critical readings bent on questioning old tracks, testing new itineraries, denying the closure of the subject. At the same time, and by way of consequence, it leads us to encounter the force in landscape. A force like an energy, an impetus, which makes it possible – if not advisable! – to still compose, read and enjoy landscapes in the XXIst century.

Patterns of Creativity

Investigations into the sources and methods of creativity


Kevin Brophy

Patterns of Creativity reflects on the implications of recent neuro-science findings, evolutionary theory and linguistics for ideas about creativity and the practice of creativity.
Kevin Brophy approaches questions of art and creation from-the-inside, that is as a poet himself. The conclusions about what it might mean to be a creative writer are counter-intuitive. What might it mean to understand the production of art as an evolutionary process with no endpoint and no goal? If consciousness is a minor player in decision-making and problem-solving as recent neuro-science findings suggest, how best might an artist manage conscious intentions while seeking to make original art?
Brophy argues that consciousness must be managed in new ways if creativity is to be sourced, that much of what we learn in education is learned without consciousness being involved, that a writer must read with a particular agenda, that writing is itself a particular kind of communication beyond speech, requiring specific skills. He argues that the metaphor is not merely a poetic device but is central to the way human thought proceeds and the way communication happens. It is the strange and surprising view-from-within informed by those views science offers to art that preoccupy these investigations.

Touching Surfaces

Photographic Aesthetics, Temporality, Aging


Anca Cristofovici

Who isn’t seduced by the idea of an affinity between aging and aesthetics? Yet, when does aging truly begin? What attributes does the aesthetic embrace? Looking into startling photographic art of the past three decades, this book is prompted by such questions and turns them into a meditation on how aesthetics mediates our relation to time.
The photographic approach of the corporeal is at the center of the book. Within a phenomenological framework, Cristofovici brings into focus the physical and the psychic body to read aging as a process of change and becoming over time. Her understanding of aging sees beyond difference into larger patterns of perceptions that we share.
Offering valuable insights into aging as a process of subject construction, this book will be of interest to students and scholars of visual culture, photography, art history, age studies, and theories of knowledge. This cross-disciplinary study that puts theory to the test of life’s and art’s paradoxes in an evocative style will also appeal to a wider readership interested in how photography and aging illuminate each other.

Picturing Mind

Paradox, Indeterminacy and Consciousness in Art & Poetry


John Danvers

In this book the author takes an unusual multi-disciplinary approach to debates about contemporary art and poetry, ideas about the mind and its representations, and theories of knowledge and being. Arts practices are considered as enactments of mind and as transformative modes of consciousness. Ideas drawn from poetics, philosophy and consciousness studies are used to illuminate the conceptual and aesthetic frameworks of a diverse array of visual artists. Themes explored include: the interconnectedness of existence; art as a way of interrogating appearances; identity and otherness; art and the self as ‘open work’; Buddhist concepts of ‘emptiness’ and ‘suchness’; scepticism, mysticism and the arts; and mind in the landscape. The book contains an important and distinctive visual dimension with photographs and drawings by the author and texts employing unorthodox syntax and layouts that exemplify the themes under discussion. The author hints at a new aesthetics and philosophy of indeterminacy, paradox, uncertainty and discontinuity - a contrarium - in which we negotiate our way through the instabilities and contradictions of contemporary life. Written in a lively and accessible style this volume is of interest to scholars, arts practitioners, teachers and to anyone with an interest in art, poetry, consciousness studies, philosophy and nature.
Artists, poets and philosophers discussed, include: Cy Twombly, Helen Chadwick, John Ruskin, Ad Reinhardt, Richard Long, James Turrell, Anish Kapoor, Ian Hamilton Finlay, Agnes Martin, Land Art, Arte Povera, Minimalism, Charles Olson, Kenneth White, Robin Blaser, Fred Wah, Gary Snyder, RS Thomas, Alice Oswald, John Cage, Jorge Luis Borges, Guy Davenport, Kenneth Rexroth, Heidegger, Marjorie Perloff, Thomas McEvilley, Merleau-Ponty, Spinoza, Wittgenstein, Roland Barthes, Umberto Eco, David Abram, Thomas Merton, Pyrrho & Nagarjuna.


Edited by Godela Weiss-Sussex and Franco Bianchini

Urban mindscapes are structures of thinking about a city, built on conceptualisations of the city’s physical landscape as well as on its image as transported through cultural representation, memory and imagination.
This book pursues three main strands of inquiry in its exploration of these ‘landscapes of the mind’ in a European context. The first strand concerns the theory and methodology of researching urban mindscapes and urban ‘imaginaries’. The second strand investigates some of the representations, symbols and collective images that feed into our understanding of European cities. It discusses representations of the city in literature, film, television and other cultural forms, which, in James Donald’s phrase, constitute ‘archives of urban images’. The third and last section of the volume concentrates on the relationship between the collective mindscapes of cities, urban policy and the practice of city marketing.

Edited by Piet Westendorp, Carel Jansen and Rob Punselie

User interfaces and supporting documentation are both supposed to help people when using a complex device. But often, these forms of support seem to come from different worlds. User interface designers, document designers, and researchers in both interface and document design share many goals, but are also separated by many barriers. In this book, user interface designers and documents designers from Microsoft Corporation and from Apple Computer, plus researchers from several universities try to bridge the gap between interface design and document design. They discuss opportunities for closer cooperation, and for more integrated and effective help for users of modern technology. Keywords: Man Machine Interaction; User Interface Design; Online Help Design; Document Design; Information Design; Visual Communication; Technical Communication; Gerontechnology Target group: user interface designers, manual designers, designers of instructions for use, interaction researchers, information designers, document designers

Edited by Joachim Wolschke-Bulmahn

Garden Design, 16th-19th century
The Haupt Collection, Technical University of Hannover

IDC presents an important collection of rare works in the field of garden history: a selection of 100 garden books from the Haupt Collection in the Library of the University of Hannover. The Haupt Collection is comprised of more than 1,500 books and thousands of engravings and drawings dating from the sixteenth to the nineteenth century that deal with architectural history and art history. The present selection by IDC will constitute an indispensible source for garden, art and architectural historians.

Karl Albrecht Haupt
Karl Albrecht Haupt (1852 - 1932), the former owner, was a professor of architecture at the University of Hannover. After having participated in the war between Germany and France in 1870 to 1871, Haupt studied architecture at the technical universities of Karlsruhe and Hannover. From 1880 on he worked as a free-lance architect. In 1879 he was appointed as instructor for German Renaissance studies at the Technical University of Hannover; from 1907 on he also lectured on Spanish and Portuguese architectural history and ancient Germanic architectural history. Haupt received his PhD. in philosophy in 1893. In 1920 he was appointed as a full honorary professor in German Renaissance studies by the Technical University of Hannover. In 1927 he received an honorary PhD. in appreciation of his merits as teacher, architect and collector of graphics in the field of architectural history. In 1927 he became an honorary member of the Sociedade dos Arquitectos Portugueses diplomados pelo governo.
During his professional career Haupt also served from 1903 to 1907 as the first president of the Bund Deutscher Architekten (BDA) (German Association of Architects). In 1922 he became honorary member of the BDA. From 1904 until 1929 he was president of the Hannoverscher Künstlerverein (Art Association of Hannover).

The Haupt Collection
In 1901 Haupt sold major parts of his collection to the Technical University of Hannover, among them about 1,500 books, thousands of engravings and an extensive collection of drawings by Haupt himself, which he used for his lectures. The collection was later complemented with new acquisitions. The books of the Haupt Collection are significant for their coverage of architectural history. There are also numerous titles that deal with interior design, aesthetics, art history, technology, and garden history. The architectural and art historical portions of the collection include such important works as Leon Battista Alberti´s Libri de Re aedificatoria decem (Paris, 1512), Andrea Palladio´s I quattro libri dell ´architettura di Andrea Palladio (Venice, 1570), and Karl Friedrich Schinkel´s Sammlung architektonischer Entwürfe (Berlin, 1819-40). T he collection contains several of such works in various editions or languages. Thus Sebastiano Serlio´s Libro primo (-quinto) d´Architettura (Venice, 1566) is not only available in the original Italian version, but also in a German edition (Basel, 1609), and a Dutch edition (Amsterdam, 1616).
The Haupt Collection covers a broad range of facets of architectural and art history. Haupt also collected books about related issues such as the architecture of churches, theaters, monasteries, fortresses and other military buildings, or such issues as calligraphy and carpentry.

Garden Design
About 100 titles of the Haupt collection are of direct relevance to the study of garden history. They include such watershed works as Salomon de Caus´ Hortus Palatinus (1620), Antoine Joseph Dézaillier d´Argentville´s La theorie et la pratique du jardinage (1739), and Christian Cay Lorenz Hirschfeld´s Theorie der Gartenkunst (1779-85), as well as lesser known but, nevertheless, important works as Heinrich Hesse´s Neue Garten-Lust (1696) and Die Gartenkunst (1797) by J. F. Blotz (pseudonym of F.CH. Touchy). The garden titles included in the IDC microfiche project cover a broad range of subjects regarding the theory and practice of gardening, horticulture and garden design. Technological aspects are as well treated as garden ornaments, garden buildings, plant use, and the construction of green houses. For example, Johann Gottfried Grohmann´s Ideenmagazin für Liebhaber von Gärten (Leipzig, 1796-1802) offers insights into garden ornaments used for well-to-do gardens. The Dutch publication Het vermakelyk land-leven (Amsterdam, 1710-11) includes fascinating views of gardens of the same period in the Netherlands. Such a lesser known publication as Bernhard Christoph Faust´s Zur Sonne nach Mittag sollten alle Häuser der Menschen gerichtet sey (n.p., c. 1824) offers interesting views of the application of the English landscape garden to row houses. The two volumes of Theatri machinarum hydraulicarum by Jacob Leupold (Leipzig, 1724-25) elucidate how to construct water fountains and show, e. g., parts of the water technique used to run the fountains of the Marly garden. Last but not least, numerous titles deal with the most important seventeenth, eigteenth and nineteenth century gardens in Europe such as Stowe, Versailles, and Schwetzingen. These and the other titles included in the IDC project Garden Design, 16th - 19th Century, constitute a rich source for garden, art and architectural historians.

Joachim Wolschke-Bulmahn, University of Hannover