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2014 | OriginalPaper | Buchkapitel

7. Gaze into the Landscape: Can Sensory Immersion, Landscape Reading and Design, and Landscaping Methods be Adapted to the Underwater Landscape?

verfasst von : Charles Ronzani, Alain Freytet

Erschienen in: Underwater Seascapes

Verlag: Springer International Publishing

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Abstract

Underwater landscape nowadays becoming a field of action for landscape designers: Politicians and natural marine parks are starting to resort to it. Contrary to what we could think, not only do landscape designers set up the land, they also carry out researches seeking to understand how a natural and/or cultural landscape can be seen by an audience, and managed at its best. They “read” the landscape. They can rely on science, but above all, this reading is for them an art; the art of “immersion.” Intuitively, artistically, graphically soaking up the place’s atmosphere bringing a new look upon it, understanding and conveying its emotion and specificity: this is the modern practice used by the French landscape designers of the Versailles school. However, can these methods, usually terrestrial, be applied to the underwater landscape? Do underwater characteristics (which are completely different from the terrestrial ones, starting with the visual water filter that questions an essential part of the definition of landscape itself) impose a change of method? What new tools and practices does the landscape designer have to invent in order to study the underwater landscape, and eventually act on it? The development of this quite new job is allowing new and unseen management perspectives for underwater landscapes. The landscape designer (alongside scientists), beside knowledge and protection, can facilitate coexistence between delicate marine environments and the audience, in terms of sensitization, cultural mediation, underwater museography, adjustments, and communication tools that are attractive and fitted into landscape. “Make understand rather than defend”: The “ecology of perception” is a substitute to the purely protective ecology present in the exotic laboratory of underwater landscape. All of this is, once out of the water, in favor of the terrestrial landscape to which we might have gotten accustomed too easily and not see all the beauty it offers us…

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Vorheriges Kapitel Boreal Submerged Black Sea Landscapes

Nächstes Kapitel Underwater Landscapes in Comic Books

Today, there is a consensus on the definition. Refer to the European Landscape Convention of Florence, Council of Europe, 2000, and A. Berque, Médiance, De milieux en paysages, Belin, 2000.

For the epistemological difference between the concepts of area and world, we refer to the doctrines of the philosophical school of phenomenology represented in particular by Husserl, Heidegger, Gadamer, and Merleau-Ponty. World is “that always-nonobjectual to which we are subject” in Heideggerʼs “The Origin of the Work of Art”, Off the beaten track, translated by Julian Young and Kenneth Hayes, Cambridge University Press.

With landscape, we are “caught up” like a child forgetful of adjacent realities. Our gaze is like the sixth side closing up a cube forming the scenery of a play. Cf. H.G Gadamer, Vérité et Méthode (Truth and Method), 2nd edition. Seuil, Paris 1996.

This is the “discovery” of philosopher Thoreau during his retreat to the woods at the end of the 1840s. Cf. H.D. Thoreau, Walden; or, Life in the Woods, Ticknor and Fields: Boston, 1854.

Michel Corajoud, “Le projet de paysage: lettre aux étudiants”, in Jean-Luc Brisson, Le Jardinier, l’artiste et l’ingénieur, Éditions de l’imprimeur, 2000.

See for example the article by B. Folléa “Le paysage comme relation”, in Les Carnets du Paysage no 21, Actes Sud, Arles, 2011.

Michel Corajoud, op.cit.

Meaning in terms of communication systems science, semiology.

To use Prieto’s term in Messages et signaux, Presses Universitaires de France, Paris 1966.

For development on the critical examination of the textual model applied to landscape, and the interpretation of landscape from a semiological point of view, as a structure and signifier system (particularly on landscape units and indicators), see C. Ronzani, Se fondre dans le paysage. Le camouflage, lecture avertie des signes paysagers, ou mise en question des méthodes paysagistes? Analyse sémiologique de l’oeuvre camouflée de Pierre Gatier à la batterie des Mèdes, Porquerolles. PhD thesis in Landscape sciences and architecture, École Nationale Supérieure du Paysage de Versailles, 2013.

Bernard Lassus, “Pour une poétique du paysage”, in Maîtres et protecteurs de la nature, dir. Alain Roger, François Guéry, Éd. Champs-Vallon 1991

Cf. supra.

Cf. G. Mounin, “Sémiologie de la communication” in Introduction à la sémiologie, Éditions de Minuit, Paris 1974.

And Prieto, op.cit.

The word, by Greimas, is obviously contradictory as its challenges the limits of the concept of sign. Refer to J. Greimas, “Conditions dʼune sémiotique du monde naturel”, in revue Langages no 10. Paris 1968.

Cf. infra note 10.

Historically through the role of the Barbizon school of painters in particular.

Or “schema of practice”: social anthropologist Philippe Descola demonstrated the relevance of this concept to describe efficient cognitive operations using know-how acquired in non-scientific cultures (crafts, hunting), without recourse to the traditional, European, modern-day concept of “idea” preceding the action, and therefore outside the intellectual presupposition of the theory-practice model. Cf. Ph. Descola, Par-delà nature et culture (Beyond Nature and Culture), Gallimard, Paris, 2005.

Michel Corajoud, Op.cit.

Gilles Clément, Nuages, Bayard, 2005.

See the treatise by Aristotle, On the soul. It is a discussion of the outer and inner movement of beings. The Latin translation of the text “De Anima”—also meaning “from movement”—also conveys this notion.

Jules Vernes, Twenty thousand leagues under the sea, Captain Nemo’s motto.

The best definition of synaesthesia is summed up in the words of Baudelaire: “all colours, scents and sounds meet as one” (C. Baudelaire, “Correspondences”, in Les Fleurs du Mal.

A whole analysis of the underwater landscape as an invisible (or only potentially visible), but sonorous landscape, with both a topology and a topography that are directly or indirectly perceptible, could be developed but does not come within the framework of this article.

Cf. Michel Corajoud: “I willingly associate the idea of horizon with the particular status of the limits that make landscape”. Op cit.

Should we see the underwater landscape as a current form of the imaginationʼs migration to “the incommensurable vertical”, akin to the starry sky and lunar landscapes, which B. Lassus calls the new and only remaining space of dreams now that planes and cars are shrinking the world? Cf. B. Lassus, Couleur, lumière paysages, instant d’une pédagogie, Edition du patrimoine, May 2004.

Except on the Nautilus submarine with its large glass panels, as Jules Verne wrote from an apartment and had never dived: “Suddenly, through two oblong openings, daylight appeared on both sides of the lounge (…) We were separated from the sea by two panes of glass (…) On both sides I had windows opening over these unexplored depths. The darkness in the lounge enhanced the brightness outside, and we stared as if this clear glass were the window of an immense aquarium”. (Jules Vernes, Twenty thousand leagues under the sea, Chap. 14 “The Black Current”). On the conditions in which he wrote the book and his reveries, see Christian Chelebourg, Jules Verne, L’Oeil et le Ventre. Une poétique du sujet, Lettres modernes Minard, Paris 1999.

Expression made popular by the 1966 Beatlesʼ song and the eponymous 1968 film.

Which reinforces the vertical nature of underwater landscape. Cf. infra note 25.

Jules Vernes, Twenty thousand leagues under the sea, Chap. 16 “Strolling the plains”.

By virtue of the optical law of Chevreul’s simultaneous contrast of colour.

The phrase is from Aristotle, in his Poetics treatise.

The managers of the Isla Muejeres National Marine Park in Mexico made no mistake in deciding to work with artist Jason de Caires Taylor: he submerges sculptures which become gradually covered with coral. They can be visited by snorkelling and the profits co-fund the nature reserve.

This aspect was carefully addressed at the Ozeanum sea museum in Stralsund, Germany: the architecture was designed after the scenography, so that full-scale sculptures of whales could be hung in a huge area ideal for acoustics and visitor flows via a network of walkways.

An obvious neologism based on the word “landscape”. On the concept of “mediascape”, a mental landscape created by media which influences representations of social groups, and their consumer, planning and policy-making practices, refer to the analysis by Indian sociologist Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization, Minneapolis: University of Minnesota Press, 1996.

Cf. Florence Baelen, “Lʼimmersion comme nouveau mode de médiation au musée des sciences. Étude de cas: la présentation du changement climatique”, in Sciences, médias et société, and “L’immersion dans les musées de science, culture ou séduction?” in Cultures et Musées no. 5, 2005. Also “Les expositions, une technologie de l’immersion” in Mediamorphoses.

According to the phrase coined by media thinker Marshal Mc Luhan, i.e. the self-referential aspect of a medium. In semiology or information theory, we would refer more precisely to equivalence between message and channel.

What Alain Roger calls the “in visu” landscape, particularly in his Court traité du paysage, Gallimard 1997.

Haeckel invented the notion of biocoenosis, based on a study of oysters and their environment. A biologist and painter, he was Director of Hamburg Natural History Museum and had the very first modern aquarium built, following the example of Humboldt’s terrestrial dioramas.

See his highly famous watercolour diagram of the Chimborazo volcano in the Andes, which he climbed with the botanist Bonpland. Their floristic inventory was a founding document of phytosociology.

Even though recent improvements in materials now allow scenes to be embraced in large panoramic windows.

Cf. Gilles Clément, Le jardin en mouvement, Pandora 1991. Re-ed. Sens and Tonka 2006. Concept embodied in the wild lands at Parc André Citroën in Paris which he designed.

Op. cit.

Titel: Gaze into the Landscape: Can Sensory Immersion, Landscape Reading and Design, and Landscaping Methods be Adapted to the Underwater Landscape?
verfasst von: Charles Ronzani
Alain Freytet
Verlag: Springer International Publishing
Buch: Underwater Seascapes
Print ISBN: 978-3-319-03439-3

Electronic ISBN: 978-3-319-03440-9

Copyright-Jahr: 2014
DOI: https://doi.org/10.1007/978-3-319-03440-9_7