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Does using a certain process or material give you an alternative reading of the place you have chosen to explore? Consider ways methods and materials become part of the process.

I Photographing nature's patterns

visual

touch

seeing the microworld and its complexity

smell

sound

giving importance and attention to natural objects in the city

II Learning to dance photographed nature's patterns

creating a physical connection with the place

translation

III Embodying a historical character who belongs to the place and shooting a film

creating a physical connection with the place

physicalization

embodiment

movement

performance

perhaps changing the park landscape for a short time by shifting the image of how people should act in public space

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What do you understand from Conroy's addition of these historical films and how it affects the context and overall milieu of his case study?

Barnsley has its local culture rooted in the deep coal mining of its industrial heritage, yet both films aimed to highlight that there is much more than just heavy industry in everyday life. For example, 'The Hospital Sing' demonstrated the significant role singing has played in the local community throughout the centuries.

Andrew Conroy also aims to show that despite its industrial history, Barnsley has plenty to offer in terms of beautiful nature and captivating rural routes.

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I chose to use watercolor to create a map based solely on my memory from a bird's-eye view. I visited the place when it was already getting dark, so I attempted to capture this atmosphere in my map with the choice of color tones. What stood out during my time in Stoke Park Estate was the constant sound of cars; therefore, the M32 occupies a significant space in my map.

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This is a combination of online research and my own physical investigation of the place, where I took some photos. I also generated a self-portrait using AI, where in the background, you can see a yellow house. I am quite fascinated by this process, and perhaps I could try out more series

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Perhaps I would like to apply intuitive map drawing in my practice at one point. 

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Perhaps I would like to apply intuitive map drawing in my practice at one point. 

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How I was using psychogeography for my practice before:

My psychogeography is a practice that grants space for heightened attention, resonating with the environment on a profound level.

Everyday strolls transform into spiritual journeys, where mental and physical presence intertwine with cosmological synchronicity. When encountering an object on the street, it conveys a message so unique that it simultaneously deconstructs and reconstructs one's identity.

During these journeys, new worlds materialize – one's places, one's signs, one's objects, one's stories. These personal realms indirectly connect the wanderers and me into a single, invisible network that hovers above the urban space.

By wandering and noticing in this manner, I actively contribute to the creation of my own memories, enabling me to select the kind of memories I wish to form.  It is the practice of forward-looking memory and forward-being, through which both identity creation and identity identification take place simultaneously.

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Learned about Bristol`s merchant, slave trader and philanthropist - EDWARD COLSTON

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Learned about Bristol`s merchant, slave trader and philanthropist - EDWARD COLSTON

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Bristol's Dark Past | The Legacy of a Slave Trader Philanthropist

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What are the methods that she considers and what approach does Gina Lundy use in her case study?

Lundy considered methods:

psychogeography

Lundy approach what she used in her case study:

writing

doing desk-dop research

sampling parts of the coastline and gathering random maps from the ground

visiting museums and Kildonon archives, where she took some circular samples from the archive

making derives

creating a video

using sound recording to capture the sound of the sea, wind and birds

using cyanotype

experimenting with large-scale and half-tone screens and cyanotype printing

using screen printing mask overlay

scoring with the laser

Asking her friend to write a text for her

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Took part of Slave Trade Walk in Bristol

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Took part of Slave Trade Walk in Bristol

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Bristol Slave Trade Walk | Rob Collin Guide | Guided Tours in Bristol

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A walk on the history of Bristol’s participation in the English and British slave trade, including the abolition of the slave trade in 1807 and the abolition of slavery in 1833.

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How could be  Bristol`s slave trade and my practice relevant? 

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How could be  Bristol`s slave trade and my practice relevant? 

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I begin my journey from a distant place, seeking to unravel the secrets of my city and its difficult past.

I am interested in the traumas that still echo through the generations of many Bristolians. We, as humans, always carry these hidden burdens in our bodies somehow.

As a dance artist, I see the importance of a safe space where others can find ways to contemplate about the past through the language of the movement and find a way to release the pain or perhaps find the simple joy in movement.

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Identify the significance of Dan Robinson's choice of place for his investigations.

It is a place he knows well. He has a project coming up where he has to plan a guided walk. Additionally, he plans to write a novel, and this place serves as an inspiring setting for him, so he is linking two things together.

What is so important to Dan Robinson about this place?

He sees the potential to be able to connect the Yorkshire waterside site with more distant places - the Colorado Library audio archive and a rice field in 17th-century Kyoto.

Comparing  Robinson's approach with Lundy's:

When Lundy`s approach seemed to be more planned and she knew what methods she would like to use to gather the information for her art project, then Robinson`s approach seemed to be more spontaneous and intuitive, where all his life happenings come together into his research of the place.

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Tate glossary definition for psychogeography: A term coined by the Marxist theorist Guy Debord in 1955 in order to describe the effect of a geographical location on the emotions and behaviour of individuals

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Stoke Park Estate is a historic park and garden alongside the M32 - the house and garden are an important landmark to me entering or leaving the city of Bristol via the M32. My eyes always caught this space while on the round of M32 and wondered how I would feel if I were there. Therefore, I have chosen this place for my investigation. I am interested in its rich history and the unique experience of visiting various spots across its terrain.

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Charlotte Prodger | Turner Prize Winner 2018 | TateShots

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Dower House and the gardens are described as in picturesque style. It is a style which is a new term for me. So I took some time to familiarise myself with it.

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Written by

Jessica Fay Teaching Fellow in English Literature, University of Birmingham

The picturesque aesthetic style was the popular choice for wealthy estate owners. Find out more about the people who influenced this movement and the places transformed by this fashionable choice. Discover how to see a picturesque view and more about wellbeing in the landscape.

What is the picturesque?

The picturesque is an aesthetic category developed in the 18th century to describe, in the words of artist and author William Gilpin (1724-1804), 'that peculiar kind of beauty which is agreeable in a picture'. It was associated with fashionable landscape gardening, however its cultural significance extended far beyond this.

Political landscapes

Before the 18th century, landscapes were very much about how productive they could be and occasionally reflected religious and political connotations. A good example is seen at Lyveden New Bield in Northamptonshire, which Sir Thomas Tresham designed and built as a testament to his Catholic faith. Lyveden's buildings and landscape symbolically conveyed Tresham's own spiritual journey as he struggled to reconcile his faith with the changing Elizabethan world.

Picturesque publications

Gilpin published guidebooks to picturesque destinations such as the Wye Valley and the Lake District, and essays explaining how to sketch picturesque scenery. Poetry describing specific landscapes and coffee-table books filled with prints were also popular means of experiencing the picturesque.

The picturesque and 'improvement'

The landscape gardens designed by Lancelot 'Capability' Brown and his followers were considered to be quintessentially picturesque. It was Brown's famous landscape at Stowe that originally helped to inspire Gilpin. However, following ideas developed in Gilpin's essays and guidebooks, some picturesque theorists began to take objection to the uniform transformation of English estates into Brownian compositions.

Price's 'natural' gardens

Sir Uvedale Price, for example, argued that garden 'improvers' applied Brown's formulae too mechanically, without paying sufficient attention to the individual character of the place. Price complained that by favouring high polish and flowing lines, the 'improvers' neglected the true qualities of the picturesque which were roughness, sudden variation, and irregularity.

Starting with his own estate in the Wye Valley, Price did much to encourage greater appreciation of features such as ancient trees, overgrown bridges, and dilapidated castles which he considered to be more 'natural'.

Beyond gardening

Price's criteria for the picturesque were applicable to all works of art, music, architecture, and literature. One of the problems of such criteria, however, is that different people find different things pleasing.

Someone who is familiar with great works of art or poetry is more likely to recognise and enjoy the 'picturesque' aspects of nature that resemble those works. In a sense, the picturesque movement imposed an artificial system of taste that left little room for natural or untutored preferences.

Sophia Anne Delaval

Holding a 'Claude glass' to help frame the landscape

The paradox of the picturesque

Theories of the picturesque blur boundaries between art and nature. Landscape artists took inspiration from nature, but connoisseurs of the picturesque often appreciated natural scenery based on how closely it resembled those very paintings.

In this context, many amateur artists and tourists used a 'Claude glass' to frame the landscape. These small, tinted, convex mirrors were used to make a natural scene look more like a picture by the celebrated 17th-century landscape painter, Claude Lorraine.

While the picturesque movement perpetuated such attempts to frame, control and orchestrate nature, questions about the problems and benefits of appropriating landscapes for the purposes of pleasure continue to be important in the 21st century.

Nature and wellbeing

We increasingly understand the benefits to our health and wellbeing from being outside and close to nature. But itI's not just nature that can claim such beneficial effects: designed parks and gardens have an equal benefit. In fact, landscapes have always been designed to manipulate our senses, they are often in disguise, posing as natural, wild Britain.

Restoration

Dudmaston and Croft Castle in Herefordshire are home to Picturesque landscapes and were significant in the spread of the movement in the 18th century. At both places teams have been working to restore these landscapes and reflect the vision of their original designers.

Trusted Source

This is a Trusted Source article created in affiliation with the University of Oxford. This article contains contributions from Jessica Fay. Jessica is a researcher from University of Birmingham who has a special interest in Romantic literature.

Gardens and landscapes

Find out more about the historical landscapes that the talented garden teams work hard to conserve at the places you love to visit.

A hub for multi-disciplinary research projects and research engagement at the University of Oxford

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Find out more about the picturesque aesthetic style and how it became a fashionable choice for wealthy estate owners in the 18th century.

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The Dower House was built in 1553 by Sir Richard Berkeley.

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The Dower House was built in 1553 by Sir Richard Berkeley.

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A stone monument to the memory of her daughter Lady Elizabeth Somerset is located in Stoke Park, Bristol. It is written there:

"Elizabeth Somerset, second daughter of Charles Duke of Beaufort, died here 7 May 1760." Restored in the year 2004'. She was killed when her horse shied.

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Charles Noel Somerset, 4th Duke of Beaufort (12 September 1709 - 28 October 1756) was a British Tory politician who sat in the House of Commons from 1731 until 1745 when he succeeded to the peerage as Duke of Beaufort.

Somerset was the younger son of Henry Somerset, 2nd Duke of Beaufort and his second wife, Rachel Noel. He was educated at Winchester College and matriculated as University College, Oxford on 19 June 1725, being awarded MA on 16 October 1727.

Somerset was a High Tory and 'a most determined and unwavering Jacobite.' He was returned as Member of Parliament for Monmouthshire his family's seat at a by-election on 17 May 1731. At the 1734 British general election, he transferred to Monmouth. He adopted a traditional Tory line in Parliament, which included voting against the repeal of the Test Act in 1736; this demonstrates the complexity of the English Jacobite movement, which was staunchly anti-Catholic, yet in theory supported a Catholic monarchy.

Somerset was returned again for Monmouth at the 1741 British general election. The era was dominated by the Whigs under the premiership of Robert Walpole with the Tories excluded from power. In February 1742, Walpole was finally ousted by a coalition of Tories, Patriot Whigs who opposed his foreign policy and members of the 'Prince's Party,' a group of younger politicians, most notably William Pitt who associated themselves with Frederick, Prince of Wales. However, to the fury of their Tory allies, the Patriot Whigs did a deal with their Whig colleagues to shut them out of the new government, while in 1744, the Tory leader the Earl of Gower joined the so-called Broad Bottom ministry and Somerset assumed leadership of the party. However, the government simply ignored him and continued to treat Gower as the Tory leader when negotiating the award of offices.

Somerset became Duke of Beaufort on the death of his brother, Henry Scudamore, 3rd Duke of Beaufort in February 1745. He vacated his seat in the House of Commons and took his seat in the House of Lords. His brother had been one of those who contacted the French government in late 1742 asking for their support for an invasion to restore the Stuarts. Beaufort himself also joined the project, sending assurances of support to the French in August 1745, and pressing a month later 'for a body of troops to be landed near London.' Simon Fraser, Lord Lovat, executed for his part in the 45 Rebellion later declared 'if the Duke of Beaufort had not promised to raise £12,000, he would not have concerned himself' but as with many aristocratic Jacobite sympathisers, the Government took no action against Beaufort.

One of the complexities of 18th-century politics was the hostility between Hanoverian monarchs and their heirs; as George II supported the Whigs, his son Frederick, Prince of Wales described himself as a Tory even though many of them were in theory Jacobites. Since the Prince's 'programme' effectively amounted to ousting the current incumbents, Beaufort agreed to support him and in May 1749, Horace Walpole reported his presence at a meeting 'between the Prince's party and the Jacobites.' In September 1750, Beaufort and Lord Westmorland jointly presided at a meeting of English Jacobites held during Charles Stuart's secret visit to London in September 1750, which effectively signalled the last flicker of the Jacobite movement.

Beaufort died on 28 October 1756 and was buried in the family vault at Badminton, Gloucestershire; a contemporary described him as 'a man of sense, spirit and activity, unblameable in his morals, but questionable in his political capacity'. His wife Elizabeth died on 9 April 1799.

On 1 May 1740, he married Elizabeth Berkeley, sister of Norborne Berkeley, 4th Baron Botetourt.

The couple had one son and five daughters:

1. Lady Anne Somerset (11 March 1741 - 18 May 1763), married Charles Compton, 7th Earl of Northampton on 13 September 1759 and had issue

2. Lady Elizabeth Somerset (12 March 1742 - 7 May 1760)

3. Henry Somerset, 5th Duke of Beaufort (1744-1803), his heir and successor

4. Lady Rachel Somerset (August 1746 - May 1747)

5. Lady Henrietta Somerset (26 April 1748 - 24 July 1770), married Sir Watkin Williams-Wynn, 4th Baronet on 6 April 1769, without issue

6. Lady Mary Isabella Somerset (1 August 1756 - 2 September 1831), married Charles Manners, 4th Duke of Rutland on 26 December 1775 and had issue

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Charles Somerset, 4th Duke of Beaufort - Wikipedia

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Charles Noel Somerset, 4th Duke of Beaufort (12 September 1709 - 28 October 1756) was a British Tory politician who sat in the House of Commons from 1731 until 1745 when he succeeded to the peerage as Duke of Beaufort. Somerset was the younger son of Henry Somerset, 2nd Duke of Beaufort and his second wife, Rachel Noel.