Part of a series titled "re/renderingthelandscape."
“re/renderingthelandscape” is a program of interrogating the legacy of painterly and cinematic genres present in the physical and cultural transitions embodied in the surface features of an area of land, and in the cultural acquisition and manipulation of information. To which the language of the digital post-production (multiple takes, cross-dissolve, warp-stabilizer, colour correction) is deployed as means of articulating our changing relationship “to the catalogue of forms, postures, and images” (Bourriaud) we now call the landscape.

In his book A Treatise on Landscape Painting and Effect in Water Colours, David Cox (1813) synthesizes the core principles of Landscape Painting as being concerned with “a judicious selection of particular tints, and a skilful arrangement and application of them in differences in time seasons, and situation ... to produce the most striking effects ... to each class of scenery.” The landscape as such was viewed as scenery that could be rendered “pleasing” by the application certain learned skills - the admixture for example of soft and simple tones. While this was the pervasive mode of thinking in past eras, today’s conceptions concerning the notion of landscape are fundamentally over laid by culture, politics, and economics. The landscape we now know it is essentially created, shaped, and mediated – a part of the symbolic order from which our identity is formed. The framework of my study of landscape, its representation and perception, is then informed in large part by the need to interpret a set of meanings that is the most complex and accurate from an array of otherwise taken-for-granted every day events.