Investigating SES variables causing changes in sense of place in the context of coastal wetland conservation - A case of Pulicat lagoon

The challenge of transforming an empty space into a gallery setting takes on the concept of place making. A place can be seen as space that has meaning when the setting considers space, surroundings, contents, the people and its activities. This research concentrates on investigating how visitors perceive the space by gauging their sense of place (sense of belonging towards a place). Galleries are currently facing changes in this technological era whereby multiple content and context, space and form, display modes, tools and devices are introduced in one single space. An observational study was done during the Foundation Studies Annual Exhibition held at Faculty of Creative Multimedia, Multimedia University. The exhibition was curated and managed by staff and students of Foundation Year showcasing an array of design works. Analogue and digital presentations of paintings, drawings, sculptures, photography and video works were displayed.. The outcome of this research will contribute towards a better design criteria of place making which affects individual behaviour, social values and attitudes. Characterizing types of visitor experience will improve the understanding of a better design criteria of place making, acceptance, understanding and satisfaction.

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Music, Landscape, and the Sound of Place

Journal of Musicology ◽

10.1525/jm.2016.33.1.11 ◽

2016 ◽

Vol 33 (1) ◽

pp. 11-44 ◽

Cited By ~ 1

Author(s):

Daniel M. Grimley

Keyword(s):

Sense Of Place ◽

Natural Environment ◽

Cultural Geography ◽

Continental Philosophy ◽

British Library ◽

Musical Meaning ◽

Final Time ◽

Walking Tour ◽

Meaning Representation ◽

Critical Literature

One of the most poignant scenes in Ken Russell’s 1968 film Delius: Song of Summer evocatively depicts the ailing composer being carried in a wicker chair to the summit of the mountain behind his Norwegian cabin. From here, Delius can gaze one final time across the broad Gudbrandsdal and watch the sun set behind the distant Norwegian fells. Contemplating the centrality of Norway in Delius’s output, however, raises more pressing questions of musical meaning, representation, and our relationship with the natural environment. It also inspires a more complex awareness of landscape and our sense of place, both historical and imagined, as a mode of reception and an interpretative tool for approaching Delius’s music. This essay focuses on one of Delius’s richest but most critically neglected works, The Song of the High Hills for orchestra and wordless chorus, composed in 1911 but not premiered until 1920. Drawing on archival materials held at the British Library and the Grainger Museum, Melbourne, I examine the music’s compositional genesis and critical reception. Conventionally heard (following Thomas Beecham and Eric Fenby) as an imaginary account of a walking tour in the Norwegian mountains, The Song of the High Hills in fact offers a multilayered response to ideas of landscape and nature. Moving beyond pictorial notions of landscape representation, I draw from recent critical literature in cultural geography to account for the music’s sense of place. Hearing The Song of the High Hills from this perspective promotes a keener understanding of our phenomenological engagement with sound and the natural environment, and underscores the parallels between Delius’s work and contemporary developments in continental philosophy, notably the writing of Henri Bergson.

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Cultura Panamericana

Kalfou A Journal of Comparative and Relational Ethnic Studies ◽

10.15367/kf.v6i1.237 ◽

2019 ◽

Vol 6 (1) ◽

Author(s):

Anthony Macías

Keyword(s):

Los Angeles ◽

Sense Of Place ◽

American Culture ◽

Pop Culture ◽

Mixed Race ◽

Urban Spaces ◽

Expressive Culture ◽

Culture Industries ◽

Latin Americans ◽

Pan American

I am writing this analytical appreciation of cultura panamericana, or pan-American culture, to propose a wider recognition of how its historical linkages and contemporary manifestations confront colonialism, honor indigenous roots, and reflect multiple, mixed-race identities. Although often mediated by transnational pop-culture industries, expressive cultural forms such as art and music articulate resonant themes that connect US Latinos and Latinas to Latin Americans, pointing the way toward a hemispheric imaginary. In US murals, for example, whether in the Chicago neighborhood of Pilsen or the Los Angeles neighborhood of Highland Park, pan-American expressive culture offers alternative representations by embracing indigeneity, and it creates a sense of place by tropicalizing urban spaces.

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