(1992). Rural tourism and development in Vojvodina: The animation of tourism‐cultural relationships. World Futures: Vol. 33, Culture and Development: European Experiences and Challenges A Special Research Report of the European Culture Impact Research Consortium (EUROCIRCON), pp. 189-197.

This article seeks to establish the development of rural communities, with up to 500 inhabitants, with the creation of a Rural Tourism Development Forum and a Tourism Development Program with local identity. It is proposed to capitalize on cultural assets and local knowledge, to strengthen the profile and tourist circuits, local services and enterprises, agro-tourism and other related economic and social activities. The objective is to contribute to territorial tourism development from an innovative perspective, (...) which, based on the efficient use of local resources, generates employment and improves the quality of life of its inhabitants, capitalizing on the advantages of tourist activity. The methodology used consisted in analyzing the problems of local development, identifying the obstacles and conceiving tourism as a solution and sustenance that allowed the elaboration of the model. (shrink)

This paper evaluates a theoretical model based on hypothesized relationships among four constructs, namely, autobiographical memory, and place attachment as antecedents of revisit intention and recommendation intention in the context of rural tourism in China. The results of 301 Chinese tourists show that the two dimensions of tourists’ autobiographical memory affect the tourists’ intention to revisit and recommend. Place attachment plays an intermediary role among tourists’ autobiographical memory, revisit intention, and recommendation intention. This study is the first to (...) apply the structural dimension of autobiographical memory has been applied to rural tourism in China. Theoretical and managerial implications are discussed based on the study results. (shrink)

Purpose of the article The paper is seeking the mutual links between creativity, innovation and tourism in the rural areas. Creativity and innovation are often associated with cities, because the potential of creative industries and people is concentrated in cities. Is this assumption correct? Using examples from practice, this paper explains that creativity in tourism may be associated with the rural areas. Methodology/methods The contribution is linked with theoretical basis of creative economy under the research assignment (...) APVV-0101-10 Creative economy - national economic and regional conditions and incentives. Therefore, it is based on analysis and comparison of views on possibilities for attracting the creative class to rural areas on one hand, and for development of creative activities within rural tourism on the other hand. Scientific aim The aim of the paper is to confirm the existence of real link between creativity, tourism and rural areas. Findings In the first part of the contribution, the basic terms as creativity, creative industry and creative class are explained and possibilities for their localization in rural areas are examined. Studies confirm that rural areas can become attractive environment for creative class despite problems like spatial diffusion of local resources and capacities and limited accessibility of capital. High-quality environment, attractive natural, cultural and historical potential and convenient infrastructure belong among the reasons for localization of creative class in rural areas. The same attributes are important for tourists who decide where to spend their free time. Conclusions Consequently, the support for development of rural tourism is understood in the paper as an instrument to improve the quality of places as well as to attract creative class and creative industries to rural municipalities. In the second part, the emphasis is put on definition of creative tourism as a creative industry based on creative activities. Examples of well-developed creative tourism in Europe are also given in this part, namely thematic routes connecting rural and urban municipalities, presenting them under certain theme issuing from local or regional culture and traditions. (shrink)

At present, there are almost 700 million rural population in China, and the farm and farmers in China are highly associated with the steadiness and development of the country and even the world. Farmers are the main subjects in rural development and play a vital role in the reception, management, and benefit distribution in rural tourism activities during the development of rural tourism. Farmers’ perception and participation intention in rural tourism development are (...) directly related to the sustainable development of rural tourism and the realization of rural revitalization goals. The decision-making process of participation in the rural tourism development fits the application conditions of the technology acceptance model. Therefore, in order to explore the influencing factors of farmers’ decision-making process in participating in the rural tourism, this study employs the technology acceptance model to predict and judge individual farmers’ willingness and behavior to participate in the rural tourism. The government trust and perceived risk in the real problem of low participation of farmers in the rural tourism development are considered. Then, an extended technology acceptance model was established by taking 409 farm households as research samples. The influence of government trust on farmers’ participation intention in the rural tourism was empirically analyzed based on the PLS-SEM model. The results show that farmers’ perceived usefulness and perceived ease of use in rural tourism affect their participation intention. Farmers’ judgments on whether governments can assume public responsibilities and achieve public interests through rural tourism development affects their trust in government, while the government trust can positively affect farmers’ participation intention via perceived usefulness and perceived ease of use. This indicates that government trust is an important antecedent variable influencing farmers’ participation in the rural tourism. The perceived risk affects farmers’ perceived usefulness and participation intention in the rural tourism, and plays a moderating role in the relationship between government trust and perceived usefulness. Finally, this study recommends to highlight the utility and convenience of rural tourism participation during the promotion of farmers’ participation in rural tourism development, enhance the ability of farmers to participate in rural tourism development, and choose multiple channels to increase government trust to reduce farmers’ risk concerns. (shrink)

Guilin rural homestays are an important support for rural tourism destinations, serving not only as accommodation but also as a representative of the local culture of the town. To improve satisfaction with rural homestays among tourists, enhance destination attractiveness, and better meet tourist demands for accommodation conditions, this study combines literature and network text analysis to construct an evaluation index system for Guilin rural homestay tourist satisfaction. The data collected by a questionnaire survey based on (...) importance–performance analysis are analyzed. The results show that actual tourist satisfaction with the experience in the 21 indexes is lower than the pre-consumption expectation, due to the imperfect facilities, lack of special service development, relative optimization of basic road construction, and the need for improvement in the internal and external environment, among other factors. Through the improvement of the above factors, the satisfaction of tourists to the rural homestay can be improved. (shrink)

The article examines two forms of public pedagogies in a rural region of Southwest China—tourism and ethnic songs—to illustrate their contested roles in transforming local relations with natural and built environment. While tourism development daily alters the village landscape by spatial intervention, demolition, and construction, the ‘landscaping’ is both a visual and conceptual device that produces a pleasurable environment as the ‘other’ and signifies what is tourable and what is to be seen. On the other hand, the (...) echoes of the environment and human-nature relations are central elements in ethnic songs that have been sung for centuries as a major music genre to transmit ancestral, historical, and cultural understandings. Indigenous worldviews and ecological awareness are expressed in songs through imitation of nature and worship of various nonhuman forms of life. The paper argues that a nascent environmentalism and ecological significance of the ethnic songs are increasingly oriented towards instrumental development rationality, while at the same time revived and choreographed in staged tourism performances. Both tourism and ethnic songs offer powerful forms of public pedagogies through which to rethink how incommensurable discourses generate new environmental crises by drastically altering not only the vernacular landscape but also local cosmological beliefs. The short-lived developmental zest and the longstanding local ecological consciousness play out complex dynamics in ‘teaching’ the locals and the tourists about the changing environment of rural ethnic China, and the ambiguities and tensions that exist within the notion of sustainable development. (shrink)

Cultural identity of rural areas is discussed with some basic concepts such as culture, territory, contemporary globalization, and individuation processes. This case study of cultural identity in the Slovenian countryside focuses on its spiritual culture, of which several components are presented in detail: the language of rural areas, (handy)crafts, nutrition and food culture, co-operation and mutual help among rural residents at work and in leisure, and the art products of Slovenian farmers. In discussing the present status and (...) the future of rural cultural identity, the danger of idolizing (romanticizing) traditions for the sake of selling them to tourists is pointed out and the necessity of traditions being part of everyday life of rural residents stressed. As a part of work and leisure life of rural residents, traditions are constantly changing due to local as well as to international socio-economic processes, to inner and outer stimuli to keep existing traditions and to create new ones. (shrink)

Rural homestay is an important driver for developing rural tourism, which still grows against the wind in the post-epidemic era of the COVID-19 virus and shows unique attributes that are different from those of the traditional hospitality industry. Based on the five-dimensional model of fine service theory, this study introduces culture as a unique dimension to construct a six-dimensional model of rural homestay fine service and explores the influencing mechanism of rural homestay fine service on (...) customer loyalty. This study successively used expert interviews and questionnaires to develop the structural equation model through SPSS 26.0 and AMOS 24.0. The results showed that culture, as a unique attribute of rural homestay, is another important factor influencing the level of rural homestay fine service besides privacy, responsiveness, empathy, comfort, and psychological quality. Customer emotion of rural homestays significantly impacts customer loyalty and fully mediates the relationship between fine service and customer loyalty. This study verifies the effectiveness of fine service theory in the research of rural homestay good service and provides a new measuring tool, which has the potential to enrich and develop the exploration of fine service. (shrink)

This paper describes a phenomenological investigation of the experience of farm tourism in the South West Tapestry Region of Western Australia from the perspective of both hosts and guests. The purpose of the study was to gain an understanding of what motivates people to operate a farm tourism business, and what motivates people to seek farm tourism holidays. In this context, phenomenology was applied as action research into the human dynamics of tourism. The study employs a (...) combined methodological research model drawn from the work of distinguished phenomenologists to explicate the experience of hosts and guests. The phenomenological descriptions derived through the explication process encapsulate the invariant structures or essence of meaning for each group. The most significant of these structural meanings for guests was the desire to relax in the tranquillity of the rural landscape and so recover from the stresses of their busy city lifestyle. Hosts were highly motivated to meeting new people, especially those with whom they shared a common interest. The motivations for the two groups were found to be highly compatible which augurs well for the future of farm tourism in the region. Indo-Pacific Journal of Phenomenology , Volume 2, Edition 1, April 2002. (shrink)

The improvement of the welfare of inhabitants of arid and semi-arid lands, either through the enhancement of existing livelihoods or the promotion of alternative ones, and their potential constraints are discussed. Alternative livelihoods are discussed under regenerative and extractive themes with respect to environmental stability. Regenerative (i.e., non-extractive) livelihoods include activities like apiculture, poultry keeping, pisciculture, silkworm production, drought tolerant cash cropping, horticulture, community wildlife tourism, processing of livestock and crop products, agro-forestry for tree products, and micro-enterprises in the (...) informal sector. Examples of livelihoods that are extractive or potentially so include timber production, woodcarving, basketry, brick making, sand scooping, and charcoal making. Suggestions to improve these livelihoods in a sustainable manner are offered. (shrink)

Increasing the socio-economic effects caused by the tourism development in the local population, they adopt some attitudes according to the impacts directly or indirectly perceived. However, some of this impact can be considered positive or negative, according to different perspectives. The issue of the resident-tourist relationship has been much-discussed recently. Therefore, many case studies are being conducted that address the impacts on both residents and tourists. The goal of this manuscript is to analyze the attitudes of local residents to (...) the development of tourism in the urban monument zone Předhradí. Primary data were collected in a questionnaire survey for residents who have a permanent residence in a municipality of Předhradí in 2020. In our research, we tried to identify the significant negative impacts of tourism development. In the same way, we evaluate how the locals see positive effects on their quality of life conducted with tourism development. The research finds out that local respondents perceived some negative impacts to increase the economic perspective, as they referred to in the higher traffic load or increased noise. The pandemic crises are perceived as a game-changer in the tourism industry. For that reason, we suggest the primary considerations for future research not only with the academic perfective as for the practical point of view. The local population’s entrepreneurship attitudes must be one of the tools to assume the resilience toward the tourism development impacts. (shrink)

El proceso de despoblación rural en el Valle del Genal se ha visto agravado en las últimas décadas, provocado en parte por el éxodo de sus habitantes en la búsqueda de oportunidades laborales o mejores servicios y equipamientos. La proximidad de la Costa del Sol, en continuo crecimiento turístico desde los años 60, ha sido un fuerte atractor de población activa, favoreciendo esta dinámica. La interrelación entre ambos territorios supone una temática de sumo interés y una oportunidad como laboratorio (...) de estudio e investigación en el marco de la asignatura “Patrimonio, Turismo y Territorio” de la Escuela de Arquitectura de Málaga. (shrink)

The COVID-19 pandemic has brought hunger to millions of people around the world. Social distancing measures coupled with national lockdowns have reduced work opportunities and the overall household incomes. Moreover, the disruption in agricultural production and supply routes is expected to continue into 2021, which may leave millions without access to food. Coincidentally, those who suffer the most are poor people. As such, food security and tourism poverty alleviation are interlinked when discussing social problems and development. While the corporate (...) interest in tourism poverty alleviation is as old as the industrial revolution, little research has been conducted to show how social innovation can be leveraged to reinforce food security and alleviate poverty. Thus, this case study examines the food industry in rural China to establish how it conducts social innovation in food production and distribution to facilitate social development and mitigate poverty. (shrink)

This paper examines the International Student Competition on Place Brand­ing and Mediterranean Diet held in Fermo, Italy, in the context of the devel­opment of rural areas. This one-week food-related educational programme was organised by the University of Macerata’s Department of Education, Cultural Heritage and Tourism in collaboration with The Piceno Laboratory on the Mediterranean Diet, a local network of public and private stakehold­ers committed to the promotion of Fermo area as a touristic destination based on traditional gastronomy. The (...) aim of this study was to understand how and to what extent such food-related educational events may con­tribute to providing students with the knowledge, expertise and soft skills needed for careers in the food tourism sector. Of interest also was how such events may benefit the development of rural areas. The ISC was founded in 2016 and continued in 2017, 2018 and 2019. In order to assess students’ perceptions about the experience, specifically regarding what they felt they had learned about food tourism, and which soft skills they had acquired or honed, 13 students who participated in the 2017 event were interviewed for a qualitative study. Moreover, the authors drew upon information gleaned from interactions with students and teachers, as well as with several important actors of the local food and tourism sector, in­cluding tourism and hospitality entrepreneurs and representatives of gov­ernment agencies, with whom they collaborated in the context of planning, running and evaluating the events. The findings show that the ISC can provide students with a good general understanding of the territory and practical knowledge about place branding and food tourism. In terms of career preparation, the combination of fieldwork activities with traditional lectures and group activities was particularly fruitful in promoting soft skills such as communication, efficient use of social media, teamwork, problem-solving and decision making. (shrink)

The contrast between the nostalgic pictures on maple syrup packaging and sophisticated technologies actually used in the sugarbush and sugarhouse suggests disjunctures between image and practice in the contemporary North American maple syrup industry. This paper argues that although evidence of a “technological treadmill” exists within the maple syrup industry, as it does in other rural production sectors, such a trend is incomplete due to the increasing importance of consumption-based activities and concerns in the countryside. In response to the (...) interests of tourists, second home owners and other increasingly influential non-producer groups, “traditional” maple enterprises persist, demonstrating a logic and appeal unaccounted for by treadmill theory. By addressing growing consumer concern about the appearance of the rural landscape, the health of the environment, and the quality of food, these “traditional” maple practices can provide distinct advantages for producers over technological modernization. The tension between technology use and tourism in the maple syrup industry offers insights about the role of small-scale specialty agriculture for sustainability in rural areas of advanced industrial countries undergoing social and economic change. (shrink)

Linked to extractive practices, territorial dispossession can be traced back to the colonisation of Abya Yala. From a decolonial commitment, this article complicates notions of dispossession and extractivism as merely emerging from war in Colombia and focuses on their presence in Campesinas territories. Based on the conceptualisations of the coloniality of power and coloniality of gender, I narrate how territorial dispossession and extractivism are felt in women’s ‘body-lands’ through foreign tourism/conservation development and new export crops in two rural (...) veredas in the Colombian Andes and in the Sierra Nevada de Santa Marta where I conducted participatory visual projects in 2016. From a relational understanding of place, I also demonstrate the ways that the rural population is resisting and negotiating within these processes. Ultimately, I make a call for feminist scholars to politically commit to the dismantling of the coloniality of gender, and to the resistances to territorial dispossession and extractivism (epistemic and economic) that rural women are leading in place in the Global South. (shrink)

La Alquería de Tablate constituye un núcleo inhabitado único por tratarse de un vestigio arquitectónico con enorme valor patrimonial. El objetivo principal de la investigación e intervención sobre este enclave es la definición de una propuesta que suponga una innovación en el modo de habitar rural. El sistema resultante pues, constituye un ejemplo de cómo acercar la industrialización a la tradición a través de la abstracción de las bases de la arquitectura popular andaluza. Una reflexión sobre la forma de (...) incorporar conceptos como lo reversible, la virtualidad o la actividad agrícola a la arquitectura contemporánea. (shrink)

Apesar de terem estado entre os primeiros imigrantes europeus que chegaram, há pouco mais de 150 anos, à Serra dos Tapes, devido a sua origem étnica e condição camponesa os pomeranos foram, por muito tempo, estigmatizados. Contudo, processo de sentido contrário tem sido observado nos últimos anos, com a criação de políticas locais de valorização do patrimônio cultural pomerano. O estudo evidencia que várias dessas iniciativas são pautadasna tentativa de resgate de formas tradicionais do “ser pomerano”, processo em que o (...) modo de vida do grupo —e em particular seus saberes e práticas alimentares— tem sido convertido em atrativo turístico, oferecido ao consumo. Palavras chave:patrimônio cultural pomerano, turismo rural, alimentação, imigração, campesinato, Rio Grande do Sul, Brasil Despite being among the first European immigrants who arrived, a little over 150 years ago, at Serra dos Tapes, because of their ethnic origin and peasant condition, Pomeranians have been stigmatized for a long time. However, a reverse process has been observed in the last few years, with the establishment of local policies to safeguard and enhance the Pomeranian cultural heritage. The survey shows that many of these initiatives are grounded in the attempt to rescue traditional ways of “being Pomeranian”, a process in which the group’s way of life —and particularly their cookery knowledge and practices— has been converted into a tourism attraction focused on consumption. Key words: cultural heritage, Pomerians, rural tourism, eating, immigration, peasantry, Rio Grande do Sul, Brazil. (shrink)

Current local and national demographic trends have deepened the existing and formed new global demographic processes that have received a new historical reasoning that requires deep scientific research taking into account the influence of the multifactorial global dimension of the modern society development. The purpose of the article is to study the development of global demographic processes and to define the causes of their occurrence, manifestations, implications and prospects for implementation in the first half of the 21st century. The authors (...) have identified and characterized four global demographic processes, namely population growth, migration, increase of tourism, and change in population structure. It is projected that in the 30’s of the 21st century, the number and growth rates of the world population will reach the objective growth and these dynamics over the next two decades will begin to change in the direction of reducing the growth rates, which will lead to gradual stabilization, and eventually reduce the size of the world population. By the middle of the 21st century, one can observe the preservation of the growth rates of international and domestic migration, the growth of international migration flows from the South to the North and from the East to the West, the strengthening of new economically developed centers of gravity (Canada, Australia and New Zealand), the increase in migration of rural population to cities, as well as urbanization and activation of the metropolises development. The share of international tourists in comparison with the world population will be constantly increasing, and the annual growth rate of the number of international tourists will significantly depend on the world economy and may vary at the several percent level. Permanent change will occur in the age, religious-cultural and socio-economic structure of the population. (shrink)

In large and small villages, regardless of tourist attraction, cultural life is faded; people's initiative is low as urban migration is extremely high. Many ethnographic villagers do not realize that they live in a significant for the state areas. The younger generation is embarrassed by local traditions, folklore. The low level of aesthetic education, and the poor possibilities of organizing artistic celebrations for the younger generation make them the users of the lowest level of urban culture. The relevance of the (...) research: employees of Lithuanian rural culture centers - a group uniting almost three thousand people, invited to make sense of rural people's leisure time, to create conditions for the development of amateurism in small villages. 882 country cultural centers in villages, towns and cities are institutions of universal use or specific activities. Their work varies, depending on what traditions have formed, the ambitions of the district or eldership that local cultural and sports departments seek. You will not find a cultural center where they would not sing, dance, play, perform, or celebrate. Also, exhibitions are regularly opened. Obviously, more intensive activity takes place in metropolitan areas, district centers, and in resorts during the summer. As here there is more space, more culture and more communities. Village and town culture institutions that are constantly communicating with schools, libraries, religious communities, neighborhoods, and sports clubs are also gaining significant results. However, it is appropriate to move to specific data from the theoretical point of view. Those members of rural communities who go in for sport individually face health supervision problems. Inadequate attention is paid to the development of personal responsibility for one's health and the promotion of a healthy life: proper nutrition, active rest, less health-hazardous environment, abandoning harmful habits and etc. in an environment contrary to life in the countryside. It is important to develop a physically active and healthy society, consciously aware of the importance of a healthy lifestyle, to create a favorable environment for leisure time and sport and for the improvement of health of rural population, moreover, to increase the development of physical education and sports services in rural districts of Lithuania, to increase the quality of sports services, giving rural residents wider opportunities to meet their needs. The problem of the research: the lack of cultural and sporting services in rural communities. The analysis of the problem is based on scientific data of Aleksandravičius and Žukovskis, Baršauskienė, Leliūgienė, Kroeber A., Kluckhohn, Nefas, Paulikas, Adomonis, Putnam, Biologur, documents regulating the activities of rural communities. Methodology of the research: In order to achieve the goal, the analysis and synthesis of scientific literature, legal documents and other information sources and statistical data are used. The aim of the research: to reveal the factors of cultural and sports development in rural communities. Research objectives: to describe the development of cultural and sports services in the context of rural communities' activities; to identify the most significant factors in the development of cultural and sporting services in rural communities. Conclusion. Activities carried out by organizations of rural communities include a wide range of community needs, including the organization of cultural and sporting events, improvement of environmental management assistance, and others. As the main problems of rural community activities, the poor condition of rural social infrastructure objects are mentioned, therefore the process of establishment of community centers for the establishment of universal multifunctional centers is one of the significant tools for the development of rural communities and thus the development of cultural and sports activities. (shrink)

The entwined history of humans and elephants is fascinating but often sad. People have used elephants as beasts of burden and war machines, slaughtered them for their ivory, exterminated them as threats to people and ecosystems, turned them into objects of entertainment at circuses, employed them as both curiosities and conservation ambassadors in zoos, and deified and honored them in religious rites. How have such actions affected these pachyderms? What ethical and moral imperatives should humans follow to ensure that elephants (...) are treated with dignity and saved from extinction? In Elephants and Ethics, Christen Wemmer and Catherine A. Christen assemble an international cohort of experts to review the history of human-elephant relations, discuss current issues of vital concern to elephant welfare, and assess the prospects for the ethical coexistence of both species. Part I provides an overview of the vexatious human-elephant relationship, from the history of our interactions to understanding elephant intelligence and sense of self. It concludes with a discussion of the issues of stress, pain, and suffering as experienced by elephants in human care and the problems inherent in assessing these subjectively. The second part explores how humans use elephants as tools and entertainment. It reviews domestic uses in Asia, examines the history and roles of elephants in zoos and circuses, and discusses the methods and ethics of training and caring for captive elephants. In Part III the contributors examine the fragile and conflict-filled world of human-elephant interactions in the wild. Each chapter delves into a different angle of the "elephant problem" -- the all-too-human problem of our growing populations taking over space that was historically the domain of these pachyderms. The chapters explore attempts to tame and "train" elephants in populous areas, the struggle over balancing species preservation while maintaining biodiversity in protected areas, and the conundrums posed by hunting, tourism, and human-elephant competition on rural land. That the future health and survival of elephants is dependent on human actions is irrefutable. In addressing these issues from multiple perspectives, Elephants and Ethics promotes mutual understanding of the cultural, conservation, and economic difficulties at the root of the many troublesome human-elephant interactions and poses new questions about our responsibility toward these largest of land mammals. (shrink)

This paper provides an overview of results from an Australian Research Council-funded project "Sentiments and Risks: The Changing Nature of Human-Animal Relations in Australia." The data discussed come from a survey of 2000 representative Australians at the capital city, state, and rural regional level. It provides both a snapshot of the state of involvement of Australians with nonhuman animals and their views on critical issues: ethics, rights, animals as food, risk from animals, native versus introduced animals, hunting, fishing, and (...) companionate relations with animals. Its data point to key trends and change. The changing position of animals in Australian society is critical to understand, given its historic export markets in meat and livestock, emerging tourism industry with its strong wildlife focus, native animals' place in discourses of nation, and the centrality of animal foods in the national diet. New anxieties about risk from animal-sourced foods and the endangerment of native animals from development and introduced species, together with tensions between animals' rights and the privileging of native species, contribute to the growth of a strongly contested animal politics in Australia. © 2007 Brill Academic Publishers. (shrink)

There is a village in the north of Finland with some thirty inhabitants. While the villagers do not lead the idyllic lives that are sold as images to tourists, they also do not lead lives of depression, alcoholism, poverty, and seclusion—an image generated by research results from the likes of National Research and Development Centre for Welfare and Health. The ill-being of rural northern villages is well documented in large-scale quantitative research,1 but qualitative research on the actual well-being, of (...) what is already good and fulfilling, is scarce. In this paper I present a research project in education in which I have collected the data through a year-long correspondence with four participants from .. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Despite the stereotypical, outsider view of Thailand as a thriving hub of international sex tourism, traditional and local constructions of Thainess instead privilege the position of the ‘good’ Thai woman—a model of sexual propriety, demure physicality and aesthetic perfection. This is the image of femininity that is heralded by Thailand's Tourist Authority and by government agencies alike as a marketable symbol of cultural refinement and national pride. But this disturbing ‘utopian’ construction of femininity might for some be considered a (...) dystopia shaped by forms of power centred on elite urban rule. In mainstream definitions of Thainess, the monstrous and grotesque inverses of ‘good’ womanhood are located in the ‘dystopian’ visions of rural-based folk traditions that abound with malevolent female spirits and demons, and in the contemporary Thai horror films that draw on these tropes. Adopted by Thai feminists and by street protestors in Bangkok at times of recent political unrest, portrayals of a ‘monstrous-feminine’ have been adopted as central to a carnivalesque strategy of response and resistance to elite discourses of control. Such forces serve to symbolically disturb and destabilise middle-class constructions of a Utopian vision of Thainess with Bangkok as its cultural core. This paper examines instances of how and why the counter-strategy of primitivism and monstrosity has developed, and the extent to which it translates ‘dystopian’ expressions of female sexuality in new imaginaries of ‘dystopia’ as a space of liberation from stultifying cultural and political norms. (shrink)

Both similarities and differences were observed when comparing scenic beauty evaluations of rural landscapes made by persons from different cultures. Differences seem due to the westernized tourists' misinterpretation or ignorance of the meaning associated with certain landscape features by the Balinese. This implies scenic beauty is dependent upon meanings assigned to landscape features, which in turn implies that scenic beauty is, to some extent, learned. Similarities between tourists' and Balinese' scenic evaluations are significant and correspond to consistencies found in (...) other landscape preference studies. Multiple methods were used, including participant photography, rating scales, and a variety of statistical analyses. A review of the literature reveals evidence and theory which suggests both similarities and differences are to be expected when comparing scenic evaluations made by persons of different cultures. This review also suggests three methodological concerns which should be addressed in landscape studies: a concern for the participant's purpose for evaluating a landscape; a concern for the participant's familiarity with a landscape; and a concern for the criterion's appropriateness to all participants. Research designs which ignore these concerns may mask true cultural differences. (shrink)

As the application of the Internet of Things technology continues to deepen in various fields, it also continues to develop in the agricultural field and the agricultural landscape. This article uses the agricultural Internet of Things to conduct an in-depth analysis and research on the planning and design of smart gardens and combines field research and project practice on the basis of theoretical analysis. Through the combination of agricultural Internet of Things technology and agricultural landscape, the planning and design of (...) smart gardens are studied. The theories used include Internet of Things technology, agricultural industrialization theory, sustainable agricultural development theory, new rural construction theory in agricultural disciplines, ecotourism theory, tourism psychology theory in tourism disciplines, landscape ecology theory, landscape aesthetics theory, and garden planning and design theory. From related theories to planning and design practice, a more systematic study of the smart park has been carried out to provide scientific guidance for the agriculture of the smart park. To provide scientific guidance for the planning and design of agricultural IoT of smart gardens, the theoretical system of planning and design of smart gardens based on the integration of agricultural IoT is proposed and systematically elaborated, including its concept, characteristics, related theories, and guidance methods. (shrink)

L’exposition d’art dans des paysages est devenu populaire au Japon, avec la multiplication récente de festivals d’art locaux. Dans ces festivals, qui attirent chacun des centaines de milliers de visiteurs, coexistent des œuvres hétérogènes. Certaines sont des sculptures autonomes, d’autres des installations qui se fondent dans le paysage, et d’autres encore sont des œuvres de type « art relationnel ». Bien que ces œuvres in situ affirment leur lien essentiel avec le site naturel rural et avec le corps du (...) spectateur — constituant un événement, une expérience, une rencontre éphémère —, les relations avec le site comme avec le visiteur sont complexes et ambigües. Il y a des œuvres in situ, mais parfois aussi in aliquo situ : des œuvres qui peuvent être installées n’importe où. Qu’est-ce qui attire les visiteurs dans ces expositions? Quels sont donc la nature et le mérite de leur localisation? Si les visiteurs apprécient de voir des œuvres dans ces paysages cela peut être en partie lié au principe japonais traditionnel d’expérience des lieux dit meisho-meguri, ou « pèlerinage vers des sites célèbres ». Cette pratique issue du Moyen Âge est associée historiquement au sacré. Aujourd’hui ce pèlerinage prend la forme du tourisme moderne mais conserve un sens traditionnel invisible car les visiteurs se déplacent à travers une série de lieux géographiques selon un jeu culturellement codé. Selon nous, dans le cas des visites d’œuvres d’art en zones rurales, l’appréciation des œuvres d’art participe à ce même jeu traditionnel de se déplacer physiquement dans une série de lieux. Cette dimension spirituelle implicite modifie à son tour la perception des œuvres. Ainsi on dira que la pratique japonaise de visiter ces expositions d’art in situ témoigne de la survivance d’une tradition, et constitue ainsi un système alternatif d’expérience esthétique. The installations of artwork in natural landscapes have become popular in Japan with the recent increase in local art festivals. In these art festivals where hundreds of thousands of visitors gather, heterogeneous installations coexist; some are autonomous sculptures, some are fused into the natural landscape, and some belong to “relational art”. Although most works assert the essential quality of their location, and the experience as “an event”, their relationships to the rural areas and to the body of the visitor are complex and ambiguous. Some works are really in situ, but some are in aliquo situ—that is, works that could be installed anywhere. What attracts visitors to these exhibitions? Hence what is the nature and merit of the location? What is the relation to the visitor’s bodily presence? If visitors enjoy the site-specificity of the artwork this may be linked to the traditional Japanese system of experiencing places as meisho-meguri—i.e. “a pilgrimage to a series of famous sites”. This practice comes from the Middle Ages and was by then spiritual. While today these pilgrimages appear as a form of modern tourism, they retain a culturally coded character because visitors’s journey is like “a game of visiting a series of geographical places”. According to me, in the case of the visit of artistic sites, the appreciation of the artwork participates in this same game of bodily displacement to a series of places. This implicit spiritual underpinning conversely modifies the visitor’s perception of the works. Thus I propose that visiting artistic sites in natural settings in Japan appears as informed by this Japanese particular tradition, and thus constitutes an alternative system of contemporary aesthetic experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beauty in the Context of Particular LivesPauliina Rautio (bio)IntroductionThere is a village in the north of Finland with some thirty inhabitants. While the villagers do not lead the idyllic lives that are sold as images to tourists, they also do not lead lives of depression, alcoholism, poverty, and seclusion—an image generated by research results from the likes of National Research and Development Centre for Welfare and Health. The ill-being (...) of rural northern villages is well documented in large-scale quantitative research,1 but qualitative research on the actual well-being, of what is already good and fulfilling, is scarce.In this paper I present a research project in education in which I have collected the data through a year-long correspondence with four participants from a small village. Letters in this correspondence were exchanged once a month in a way that everyone read everyone’s letters. I asked the participants to write about beauty. The aim of this research has been to find out what kind of place beauty, as defined by the participants themselves, holds in the their everyday lives. In this paper I will discuss some challenges of researching everyday beauty empirically. I will also concentrate on selected findings that highlight the importance of context in discussing experiences and use of beauty.Everyday life2 has been characterized in research by concepts such as “time,” “space,” “rhythm,” and “bodily movement.”3 These concepts embrace an idea of a continuum and refer to everyday life as subjectively experienced and actively engaged in. Everyday life is a contextual process but one that nevertheless defies definitions bound in time and space. This is because as subjectively experienced, it entails simultaneously the past, the present, and the future as necessary for the managing of it. By managing of everyday life I mean a practice that consists of constant reflection, evaluation, and steering, but one that we are mostly unaware of engaging [End Page 38] in. We are in a way creating our everyday lives as we go. This makes the everyday a subjective construct instead of an objectively definable unit such as “a Monday.” And so, instead of an attempt to tame the very vague notion of “everyday” as something universally shared,4 this research delves into particular individuals’ everyday lives as uniquely managed continuums. And to strike a rare positive chord to research on rural northern villages, I have chosen aesthetics, the notion of beauty in particular, as the vantage point to this making of everyday.I’m aligning with Ludwig Wittgenstein and quoting Katya Mandoki in stating that “beauty is a linguistic effect used by a particular subject to describe personal experiences and social conventions... a linguistic categorisation of a non-linguistic experience.”5 And despite the ambivalence that surrounds beauty as a concept in scholarly discussion, it is to be noted that it has remained in constant use in everyday conversation of common experience. When commonly used, “beautiful” still signals admiration, excellence, and that which is desirable.6 Beauty is therefore future-oriented, bringing about replication, distribution, and a wish to protect.7 As such a concept and a word of everyday use, “beauty” orients us to concentrate on the desirable in our lives at present. In doing so it guides us to evaluate this desirableness in light of the past and commits us to replicate and protect it for the future. Embedded in the use of the concept of beauty is thus a continuum of evaluating one’s relation to her surroundings. As beauty is not a quality of objects in themselves but an effect of the relation between the experiencing subjects and certain objects,8 it is not the objects of everyday beauty that I explore but the relation of particular people to their everyday life environments through ways of using and expressing beauty.The significance in thinking of beauty as something we create and use rather than something that exists objectively is in the realization that we can change what we find beautiful. Beauty as used by a particular subject is not fixed but changes and mirrors the changing of that subject herself. In realizing beauty this way, it becomes a... (shrink)

Scottish devolution and land reform were high on the political agenda with Labour's victory at the general election in 1997. In the Highlands of Scotland, where disputes over the ownership and control of land have a long history, initiatives involving the community ownership of land were gathering pace, one of which was Orbost Estate in Skye. What began as an 'experiment' in building a new community with the intention of creating a model for land reform, by 2002 had become a (...) symbol of community opposition and heavy-handed mismanagement by bureaucrats. The conflict between local objectors and the government-funded enterprise company that bought the estate, was fought on ideological, aesthetic and bureaucratic grounds. The discourse of conflict reflected opposing understandings of the social, historical and cultural environment – values that are associated with and 'naturalised' in the landscape. Rural development is increasingly subject to rigid planning guidelines based on notions of visual landscape aesthetics and imputed historical-cultural values associated with the area's tourist industry. In the absence of strong local democratic institutions, objectors and developers arrived at an uneasy compromise after several years of dispute, through the agency of the bureaucratic planning apparatus itself. This study illustrates how the multi-faceted concept of landscape mediates cultural, social and political issues, and is continually evolving in response to aesthetic, ideological and institutional agencies. (shrink)

Con el modelo de bienestar, los sectores económicos tuvieron un crecimiento sustantivo en México. Con el cambio del modelo económico, el sector servicios, sobre todo, el turismo, se ha consolidado como una actividad que homogeniza y funcionaliza el paisaje para facilitar la apropiación de los recursos naturales y culturales de las comunidades rurales para la expansión de la economía de libre mercado, con el objetivo de que permanezca el modo de producción y reproducción vinculado al capital, con lo que se (...) contradice la sustentabilidad de la actividad. Para el análisis de dicha situación y sus implicaciones, se propone el uso de la estrategia materialista cultural (Harris, 1982) como base teórico-metodológica general fortalecida con las propuestas de Sauer (1925) para el conocimiento del paisaje natural y cultural, y de Cordero (2004) para el conocimiento de las formas de apropiación de la naturaleza y la cultura que utiliza la expansión capitalista. Con esta propuesta se espera coadyuvar en la identificación del proceso de apropiación, homogenización y funcionalización, vinculado al turismo. (shrink)

Most accounts of the effect of the global marketplace on deforestation in Africa, Asia, and Latin America emphasize the demand for timber used in industrial processes and the conversion of tropical forests to pastures for beef cattle. In recent years, numerous scholars and policymakers have suggested that developing a market for non-timber forest products (NTFPs) might slow the pace of habitat destruction. Although increased demand for NTFPs rarely results in massive deforestation, the depletion of the raw materials needed to make (...) particular products is common.Many rural households in the Mexican state of Oaxaca have prospered over the past three decades through the sale of brightly-painted, whimsical wood carvings (alebrijes) to international tourists and the owners of ethnic arts shops in the United States, Canada, and Europe. This paper examines a promising project aimed at providing Oaxacan alebrije-makers with a reliable, legal, and sustainable supply of wood. The ecologists, artisans, merchants, and forest owners involved in the project face formidable obstacles. Gaining permission to harvest wood from land belonging to Oaxacan communities requires the negotiation of a complex social, legal, economic, and political landscape. Artisans’ decisions about where to obtain wood rest largely on price, quality, and reliability of the supplier; they are willing to pay a premium for ecologically sustainable wood only if the additional cost can be passed on to consumers. Nonetheless, a group of carvers has begun to buy sustainably harvested wood. This arrangement has economic advantages for both the alebrije-makers and the owners of the forests where the wood is produced. (shrink)

Reproductive tourism is a manifestation of a larger, more inclusive trend toward globalization of capitalist cultural and material economies. This paper discusses the development of cross-border assisted reproduction within the globalized economy, transnational and local structural processes that influence the trade, social relations intersecting it, and implications for the healthcare systems affected. I focus on prevailing gender structures embedded in the cross-border trade and their intersection with other social and economic structures that reflect and impact globalization. I apply a (...) social connection model of responsibility for unjust outcomes and consider strategies to counter structural injustices embedded in this industry. The concluding section discusses policy reforms and proposals for collaborative action to preclude further injustices and extend full human rights to all. (shrink)

A landmark volume explores photographer Henry Hamilton Bennett's many-layered relationship with Wisconsin Dells Native peoples, the Ho-Chunk, places Bennett within the context of contemporary artists and photographers of American Indians, ...

This paper explores the notions of hope and how individual patient autonomy can trump carefully reasoned ethical concerns and policies intended to regulate stem cell transplants. We argue that the same limits of knowledge that inform arguments to restrain and regulate unproven treatments might also undermine our ability to comprehensively dismiss or condemn them. Incautiously or indiscriminately reasoned policies and attitudes may drive critical information and data underground, impel patients away from working with clinical researchers, and tread needlessly on hope, (...) the essential motivator of patients, advocates and researchers alike. We offer recommendations to clinicians and health care providers to help balance the discourse with individuals seeking treatment while guarding against fraud, misconception, and patient harm. (shrink)