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Physical Geography (physical + geography)
Selected AbstractsWITHER PHYSICAL GEOGRAPHY: 100 VOLUMES OF THE GEOGRAPHICAL REVIEW,GEOGRAPHICAL REVIEW, Issue 4 2010DOUGLAS J. SHERMAN First page of article [source] Physical Geography: A Human PerspectiveGEOGRAPHICAL RESEARCH, Issue 1 2006Ian Douglas No abstract is available for this article. [source] Science, systems and geomorphologies: why LESS may be moreEARTH SURFACE PROCESSES AND LANDFORMS, Issue 9 2008Keith Richards Abstract This paper has been stimulated by a debate triggered by the then British Geomorphological Research Group (now the British Society for Geomorphology) about the connections between geomorphology and Earth system science (ESS). Its purpose is to expand on some arguments we have already made about these connections, amongst other things drawing attention to neglected historical antecedents, and to the questionable status of the science implied by ESS. A premise of this further paper is that such a debate cannot be assumed to mirror conventional assessments of the content of a science, since it is about scientific institutional structures, names, boundaries and relationships. This implies that the terms of reference go well beyond critical scientific appraisal, extending to matters of evaluating a social organization, and to politics, policies, purposes and practices. We therefore begin by considering the sociology of science, scientific knowledge and technology, before moving to a consideration of the historical relationship amongst geomorphology, geology and physical geography; and to some perspectives this might offer for the current debate. Epistemological issues, arising both from the use of systems theory over multiple spatial and temporal scales, and from the demands of contemporary environmental science, are then introduced, and these lead to a conclusion that geomorphology might more appropriately be assessed against (or seen as part of) a more locally orientated ESS, which we term LESS. Copyright © 2008 John Wiley & Sons, Ltd. [source] NONSTOCHASTIC VARIATION OF SPECIES-LEVEL DIVERSIFICATION RATES WITHIN ANGIOSPERMSEVOLUTION, Issue 3 2003Hallie J. Sims Abstract Variations in the origination and extinction rates of species over geological time often are linked with a range of factors, including the evolution of key innovations, changes in ecosystem structure, and environmental factors such as shifts in climate and physical geography. Before hypothesizing causality of a single factor, it is critical to demonstrate that the observed variation in diversification is significantly greater than one would expect due to natural stochasticity in the evolutionary branching process. Here, we use a likelihood-ratio test to compare taxonomic rate heterogeneity to a neutral birth-death model, using data on well-supported sister pairs of taxa and their species richness. We test the likelihood that the distribution of extant species among angiosperm genera and families could be the result of constant diversification rates. Results strongly support the conclusion that there is significantly more heterogeneity in diversity at the species level within angiosperms than would be expected due to stochastic processes. This result is consistent in datasets of genus pairs and family pairs and is not affected significantly by degrading pairs to simulate inaccuracy in the assumption of simultaneous origin of sister taxa. When we parse taxon pairs among higher groups of angiosperms, results indicate that a constant rates model is not rejected by rosid and basal eudicot pairs but is rejected by asterid and eumagnoliid pairs. These results provide strong support for the hypothesis that species-level rates of origination and/or extinction have varied nonrandomly within angiosperms and that the magnitude of heterogeneity varies among major groups within angiosperms. [source] The Local Shape of Revolution: Reflections on Quantitative Geography at Cambridge in the 1950s and 1960sGEOGRAPHICAL ANALYSIS, Issue 3 2008Peter Haggett The "quantitative revolution" in human geography which swept across so many universities in the 1950s and 1960s had its main diffusion centers in a few locations which were to have global significance. Two critical early centers were the University of Washington in the Pacific Northwest and Lund University in southern Sweden. But the experience of change was different in different locations as the general forces of perturbation sweeping around academia were translated into local eddies with local repercussions. Here, small and somewhat random quirks at the outset, led eventually to fundamental divergences between adoption and rejection. The theme is illustrated by reference to changes which occurred at Cambridge, one of England's two oldest universities, as seen from the perspective of someone who,as undergraduate, graduate student, and later, faculty member,was caught up in these changes and took some small part in propagating them. Special attention is given to the role of two environmental scientists, Vaughan Lewis and Richard Chorley, in introducing changes and the way in which later developments in human geography drew on preceding experiences in physical geography. The reasons behind the "Cambridge variant" and the questions of how intellectual DNA is passed across the generations are discussed. [source] Teaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural GeographyGEOGRAPHY COMPASS (ELECTRONIC), Issue 5 2008Toby Butler Author's Introduction This article is concerned with the history and practice of creating sound walks or ,memoryscapes': outdoor trails that use recorded sound and spoken memory played on a personal stereo or mobile media to experience places in new ways. It is now possible to cheaply and easily create this and other kinds of located media experience. The development of multi-sensory-located media (,locedia') presents some exciting opportunities for those concerned with place, local history, cultural geography and oral history. This article uses work from several different disciplines (music, sound art, oral history and cultural geography) as a starting point to exploring some early and recent examples of locedia practice. It also suggests how it might give us a more sophisticated, real, embodied and nuanced experience of places that the written word just can not deliver. Yet, there are considerable challenges in producing and experiencing such work. Academics used to writing must learn to work in sound and view or image; they must navigate difficult issues of privacy, consider the power relations of the outsider's ,gaze' and make decisions about the representation of places in work that local people may try and have strong feelings about. Creating such work is an active, multi-sensory and profoundly challenging experience that can offer students the chance to master multi-media skills as well as apply theoretical understandings of the histories and geographies of place. Author Recommends 1.,Perks, R., and Thomson, A. (2006). The oral history reader, 2nd ed. London: Routledge. This is a wonderful collection of significant writing concerned with oral history. Part IV, Making Histories features much of interest, including a thought-provoking paper on the challenges of authoring in sound rather than print by Charles Hardy III, and a moving interview with Graeme Miller, the artist who created the Linked walk mentioned in the memoryscape article. These only feature in the second edition. 2.,Cresswell, T. (2004). Place: a short introduction. Oxford, UK: Blackwell. A refreshingly clear and well-written guide to the different theoretical takes on what makes places , a good starting point for further reading. 3.,Carlyle, A. (ed.). (2008). Autumn leaves: sound and the environment in artistic practice. Paris, France: Double Entendre. This is a collection of short essays and examples of located sonic media art; it includes interviews with practitioners and includes Hildegard Westekamp's Soundwalking, a practical guide to leading students on a mute walk. Lots of thought provoking, applied reading material for students here. 4.,Blunt, A., et al. (eds) (2003). Cultural geography in practice. London: Arnold. A great book for undergraduate and postgraduate students , concepts explained and lots of examples of actually doing cultural geography. The chapter on mapping worlds by David Pinder is particularly useful in this context. 5.,Pinder, D. (2001). Ghostly footsteps: voices, memories and walks in the city. Ecumene 8 (1), pp. 1,19. This article is a thoughtful analysis of a Janet Cardiff sound walk in Whitechapel, East London. Online Materials http://www.memoryscape.org.uk This is my project website, which features two online trails, Dockers which explores Greenwich and the memories of the London Docks that are archived in the Museum of London, and Drifting which is a rather strange experiment-combining physical geography and oral history along the Thames at Hampton Court, but still makes for an interesting trail. Audio, maps and trails can be downloaded for free, so students with phones or iPods can try the trails if you are within reach of Surrey or London. The site features an online version, with sound-accompanying photographs of the location. http://www.portsofcall.org.uk This website has three more trails here, this time of the communities surrounding the Royal Docks in East London. The scenery here is very dramatic and anyone interested in the regeneration of East London and its impact on local communities will find these trails interesting. Like Dockers, the walks feature a lot of rare archive interviews. This project involved a great deal of community interaction and participation as I experimented with trying to get people involved with the trail-making process. The site uses Google maps for online delivery. http://www.soundwalk.com This New York-based firm creates exceptionally high-quality soundwalks, and they are well worth the money. They started by producing trails for different districts of New York (I recommend the Bronx Graffiti trail) and have recently made trails for other cities, like Paris and Varanassi in India. http://www.mscapers.com This website is run by Hewlett Packard, which has a long history of research and development in located media applications. They currently give free licence to use their mscape software which is a relatively easy to learn way of creating global positioning system-triggered content. The big problem is that you have to have a pricey phone or personal digital assistant to run the software, which makes group work prohibitively expensive. But equipment prices are coming down and with the new generations of mobile phones developers believe that the time when the player technology is ubiquitous might be near. And if you ask nicely HP will lend out sets of equipment for teaching or events , fantastic if you are working within reach of Bristol. See also http://www.createascape.org.uk/ which has advice and examples of how mscape software has been used for teaching children. Sample Syllabus public geography: making memoryscapes This course unit could be adapted to different disciplines, or offered as a multidisciplinary unit to students from different disciplines. It gives students a grounding in several multi-media techniques and may require support/tuition from technical staff. 1.,Introduction What is a located mediascape, now and in the future? Use examples from resources above. 2.,Cultural geographies of site-specific art and sound Theories of place; experiments in mapping and site-specific performance. 3.,Walk activity: Westergard Hildekamp , sound walk, or one of the trails mentioned above The best way , and perhaps the only way , to really appreciate located media is to try one in the location they have been designed to be experienced. I would strongly advise any teaching in this field to include outdoor, on-site experiences. Even if you are out of reach of a mediascape experience, taking students on a sound walk can happen anywhere. See Autumn Leaves reference above. 4.,Researching local history An introduction to discovering historical information about places could be held at a local archive and a talk given by the archivist. 5.,Creating located multimedia using Google maps/Google earth A practical exercise-based session going through the basics of navigating Google maps, creating points and routes, and how to link pictures and sound files. 6.,Recording sound and oral history interviews A practical introduction to the techniques of qualitative interviewing and sound recording. There are lots of useful online guides to oral history recording, for example, an online oral history primer http://www.nebraskahistory.org/lib-arch/research/audiovis/oral_history/index.htm; a more in depth guide to various aspects of oral history http://www.baylor.edu/oral%5fhistory/index.php?id=23566 or this simple oral history toolkit, with useful links to project in the North of England http://www.oralhistorynortheast.info/toolkit/chapter1.htm 7.,Sound editing skills Practical editing techniques including working with clips, editing sound and creating multi-track recordings. The freeware software Audacity is simple to use and there are a lot of online tutorials that cover the basics, for example, http://www.wikieducator.org/user:brentsimpson/collections/audacity_workshop 8.,Web page design and Google maps How to create a basic web page (placing pictures, text, hyperlinks, buttons) using design software (e.g. Dreamweaver). How to embed a Google map and add information points and routes. There is a great deal of online tutorials for web design, specific to the software you wish to use and Google maps can be used and embedded on websites free for non-profit use. http://maps.google.com/ 9,and 10. Individual or group project work (staff available for technical support) 11.,Presentations/reflection on practice Focus Questions 1What can sound tell us about the geographies of places? 2When you walk through a landscape, what traces of the past can be sensed? Now think about which elements of the past have been obliterated? Whose past has been silenced? Why? How could it be put back? 3Think of a personal or family story that is significant to you. In your imagination, locate the memory at a specific place. Tell a fellow student that story, and describe that place. Does it matter where it happened? How has thinking about that place made you feel? 4What happens when you present a memory of the past or a located vision of the future in a present landscape? How is this different to, say, writing about it in a book? 5Consider the area of this campus, or the streets immediately surrounding this building. Imagine this place in one of the following periods (each group picks one): ,,10,000 years ago ,,500 years ago ,,100 years ago ,,40 years ago ,,last Thursday ,,50 years time What sounds, voices, stories or images could help convey your interpretation of this place at that time? What would the visitor hear or see today at different points on a trail? Sketch out an outline map of a located media trail, and annotate with what you hear/see/sense at different places. Project Idea small group project: creating a located mediascape Each small group must create a located media experience, reflecting an aspect of the history/geography/culture of an area of their choosing, using the knowledge that they have acquired over the course of the semester. The experience may be as creative and imaginative as you wish, and may explore the past, present or future , or elements of each. Each group must: ,,identify an area of interest ,,research an aspect of the area of the groups choosing; this may involve visiting local archives, libraries, discussing the idea with local people, physically exploring the area ,,take photographs, video or decide on imagery (if necessary) ,,record sound, conduct interviews or script and record narration ,,design a route or matrix of media points The final project must be presented on a website, may embed Google maps, and a presentation created to allow the class to experience the mediascape (either in the classroom or on location, if convenient). The website should include a brief theoretical and methodological explanation of the basis of their interpretation. If the group cannot be supported with tuition and support in basic website design or using Google mapping with sound and imagery, a paper map with locations and a CD containing sound files/images might be submitted instead. For examples of web projects created by masters degree students of cultural geography at Royal Holloway (not all sound based) see http://www.gg.rhul.ac.uk/MA/web-projects.html [source] Videogames, visuality and screens: reconstructing the Amazon in physical geographical knowledgeAREA, Issue 4 2009James N Ash In this article we attend to an emergent practice of visualising GIS data in physical geography using the graphics engine of a videogame, Crysis. We suggest these modes of image-making aid the possibility of imagining and disseminating complex geographical data differently by re-contextualising seemingly abstract mathematical information within a human horizon of embodied meaning. Furthermore we argue these ways of imagining are closely linked to the technology and phenomenology of screens which make the presentation of these images possible. We close by reflecting on the possibility that these technologies are shifting the grounds of vision and the geographical imagination of users. [source] A bridge over troubled waters?AREA, Issue 3 2009Systems theory, dialogue in geography In physical geography, systems are seen as a unity of parts and relationships, whereas human geographers using a second-order sociological systems approach define systems in terms of the difference between system and environment. Starting from this, dialogue between physical and human geographers using terms derived from systems theory is mostly in vain. This article explores some of the consequences that follow for dialogue in geography: the differences in defining systems, in the understanding of processes, the problem of system borders, the inconsistent understanding of the ,environment' itself as well as the different epistemology that comes with it (or leads to it). The article tries to bring systems theory back into geography with the decisive aim of enhancing the potentials for interaction between human and physical geographers and, therefore, to explore the possibility of connecting the social with the physical world , deviating from systems theory. [source] Marivetz, Goussier, and Planet Earth: A Late Enlightenment Geo-Physical ProjectCENTAURUS, Issue 4 2006Kenneth L. Taylor Goussier fulfilled only a preliminary part of an ambitious plan to present a general theory of géographie physique, together with a new set of maps showing France's present and past topographic conditions. The 1779 Discours préliminaire et prospectus to this project, together with publications ancillary to Physique du Monde, afford some insight into the partnership between Marivetz and Goussier, and into the ideas they had in mind when they promised an exposition of the general theory of physical geography by deduction from first principles of celestial physics. Believing that the Earth is presently in a prolonged period of warming, Marivetz and Goussier adopted a theory of the oceans' gradual diminution, through progressive conversion of water into solid matter by assimilation in organic bodies. An understanding of France's slow emergence from the sea, in the authors' view, was linked with one of their main practical interests: promotion of inland navigation through enlargement of the French system of interlocking canals. Their project thus reflects a typical Enlightenment conviction in the utility of knowledge. As an effort in geoscience conceptualizing, the Marivetz,Goussier project was in accord with a contemporary pattern of thinking, in which it was assumed that proper theorizing about the Earth must center upon law-like principles or descriptive generalizations. Ce n,est donc qu'en liant la Physique terrestre aux premières & grandes loix de la Physique céleste, que l,on peut espérer de répandre de véritables lumières sur cette Science. La Géographie Physique ne peut être éclairée que par la Physique céleste ,. Marivetz and Goussier (1779, p. 8) La Physique du Monde, suivant la définition de M. de Marivetz & de M. Goussier, est composée de deux parties, celle du Ciel & celle de la Terre; mais la première n'est destinée, dans leur Ouvrage, qu'àéclairer la seconde, c,est-à-dire à déterminer les différens états dans lesquels la terre a passé ou dans lesquels elle passera. J.-J.-L. de Lalande, in Journal des Sçavans (1781, p. 532) [source] | ||||||||||