REGIONAL PATTERNING AMONG THE MEGALITHS OF GALICIA (NW SPAIN)

Summary. Within the extensive plateau crossed by the upper Miño there are a vast number of tumuli. Their distribution is fairly homogeneous and they reach densities of up to 6 mounds per km². The grave goods recovered from some of these monuments bear little relation to those in the coastal areas, especially so by the later part of the 3rd millenium BC. Recent surveys have found that some of the biggest concentrations of tombs are located near to natural passes or ridges that connect the inland plateau with the eastern districts of La Coruña and Pontevedra provinces. We suggest that proximity to crossing points between different areas was an important factor in the local setting of the mounds. On a larger scale the same principle might explain the occurrence of considerable clusters of monuments close to natural passes between regions that were especially important during this period.     

HISTORICAL PRESERVATION AND IDENTITY: THE ALAMO AND THE PRODUCTION OF A CONSUMER LANDSCAPE

Historical preservation often reveals more about contemporary culture than about history. The Alamo in San Antonio, Texas, is just such a case. No other large US city is so dominated by a single historical event, and the Alamo plays a central role as a cultural icon for regional Anglo identity, a symbol of the Anglo-dominated social hierarchy. Its preservation and restoration have coincided with modern identity formation contextualized by commodities. Thus, a critical part of this project is the development of a consumer landscape as an economic extension of the Alamo that promotes consumption by harmonizing with prevailing Anglo conceptions of ethnic identities; not simply a strategically located commercial zone, but an integral part of the pilgrimage to the monument, providing a mechanism for socialization, including "racialization", contextualized by commodities.     

HOW THE VISUAL IS SPATIAL: CONTEMPORARY SPATIAL HISTORY,NEO-MARXISM,AND THE GHOST OF BRAUDEL

Contemporary spatial history is founded on the potential for maps and other visualizations to show the historical constructedness of space, usually in broadly neo-Marxist terms, yet neo-Marxist geographical theory is famously critical of visual representation, especially mapping. At stake in this contradiction isn't just the relationship between digital enthusiasm and spatial theory (or the wider spatial turn), but the theoretical status of the visual itself in spatial scholarship. It raises a crucial question: how does visual material—everything from today's statistical maps and cutting-edge data graphics to the broader use of primary-source photographs or drawings—in fact shape our understanding of space, and what theoretical work does it do? By extension, how can humanists make critical theoretical interventions through their own visual production? This article proposes an analytic vocabulary of “visual argument” grounded in an image-focused rereading of two canonical bodies of work: the neo-Marxist theory most cited by spatial history (Henri Lefebvre, David Harvey, Doreen Massey, and Edward Soja) and the conspicuously uncited work of Fernand Braudel. By focusing on how these authors’ illustrations make claims about spatial subjectivity and the historicity of space—especially through visual relationships of background and foreground—I argue for a new way of understanding and responding to this work and to the visual project of spatial history today. A visual analysis highlights not only the limitations of neo-Marxism but also the pervasiveness of certain assumptions—shared across the neo-Marxists, Braudel, and digital visualization—about temporality, the natural/human dichotomy, and the methodological tensions between argument and visualization. I present my own mapping of Phoenix as one possibility for an argument-driven rethinking of familiar visual commitments, which also suggests a broader meditation on the relationship between visual and textual scholarship.     

THE PROBLEMS WITH VISUAL IDENTIFICATION OF DOVER AND FORT PAYNE CHERT

Abstract

Similar characteristics including color, luster, texture, and mineral inclusions of both Dover and Fort Payne chert types coupled with the wide geologic and geographic distribution of these deposits compound interobserver errors associated with visual identification methods. Samples were obtained from outcrops of Dover from Kentucky and Tennessee and Fort Payne chert from Alabama, Georgia, Illinois, Kentucky, Mississippi, and Tennessee demonstrating their extensive geologic distribution as well as the great similarity in macroscopic traits. A logistic regression analysis upon the sample database demonstrates successful differentiation of the chert types. However, the Dover/Fort Payne case study provides a cautionary example of the potential pitfalls with sourcing studies solely reliant upon visual attributes to assign artifact provenance. In general, the use of visual chert identification should be a “first approximation” and it is argued here that large type databases systematically sampled from both primary and secondary sources highlight the possible wide range of macroscopic variation present.     

背起相机,用7天的时间拍冀东的人文景观

《旅行的艺术》这部电影,一直存在我的手机里,是我的保留剧目,无论到哪儿我都带着它。片中引用了美国思想家爱默生说过的一句话:不要走已知的路,踏上未知的路,然后留下足迹。我想这就是对旅行最好的诠释。别担心你的准备不足,不要怕前方充满未知,只要你有一颗热爱生活的心,就背起背包出发,去体验充满激情的征程吧。     

STATE INTERVENTION IN LANDSCAPE PRODUCTION: THE WHEATLAND RIOT AND THE CALIFORNIA COMMISSION OF IMMIGRATION AND HOUSING*

The role of the state in landscape production has been little theorized in geography. In this paper, I examine the role played by state institutions in determining landscape morphology by focusing on the activities of the California Commission of Immigration and Housing as it attempted to mitigate the conditions that led to the violent Wheatland “riot” of 1913. This rebellion by radicalized migratory workers was central to the creation of the abundant agricultural landscape of California in the years before the United States entered World War I. By telling the story of Wheatland and the state responses it induced, I hope to move discussions of landscape geography beyond both traditional concerns with landscape as a reflection of “culture” and contemporary concerns with metaphors of landscape as text.     

古村落旅游开发的视觉影响与管理--以西递-宏村为例

分析了古村落旅游资源的特点,在对皖南徽州古村落——西递、宏村的居民、游客的随机抽样问卷调查结果显示：古村落旅游资源存在的视觉污染严重。以调查结果为依据,分析了古村落视觉影响的现状,探寻其成因,并找出对策,提出视觉管理的原则及方法。