I’d seen Yi-Fu Tuan mentioned a number of times, but it was still whim that led me to pick up this book because I thought it might help with some of the ways I’ve been thinking about how human beings connect to places. This particularly in a still unfinished response to some of Doreen Massey’s work on the politics of place, which to me mirrors many of the problems in capitalist development and also sadly in Planning and Geography both. I saw this
Topophilia is the affective bond between people and place or setting. Diffuse as concept, vivid and concrete as personal experience, topophilia is the recurrent theme of the book (4).
So it was surprising, and a little delightful I confess, to go from there bounding off through some social biology like this:
Ultraviolet rays are invisible to man, though ants and the honey bees are sensitive to them. Man has no direct perception of infrared rays, unlike the rattlesnake… (6)
I am easily distracted by thinking of how much in the world we are missing, all the things out there that we cannot see or feel or smell. I am easily impressed by rattlesnakes, have loved them ever since we were little even though we invariably killed them when they came too near the house. But it is interesting to think of the biological bases for our perceptions.
It turns out that this is a sprawling book that unearths various academic disciplines, art and poetry to examine from different viewpoints our connection to land. I’m still considering what ties it all together, it is not at all obvious, so this reads something like a collection of my favourite bits. Which it is, but in that sense it mirrors the book itself.
The first half in particular took me back to my old undergrad sociology and anthropology days raising no small degree of nostalgia with section headings like ‘harmonious whole, binary oppositions, and cosmological schemata,’ and citations of Durkheim, Mauss, Levi-Strauss. There were stories of remote tribes and how they related to the world. A man emerging for the first time from the Amazonian rainforest and unable to judge distance, like Dougal from Father Ted (who had no such excuse) unable to tell what was small and what was just far away. He also calls upon Tolstoy and Dostoevsky, poets Eliot, Sandburg and cummings.
This walked a thin line for me as I hate it when people gaily argue we are all the same, but I think he managed to stay on the right side of it — teasing out processes, ways of thinking, methods of making sense of the world that peoples around the world hold in common rather than the content of our understandings. Something I find useful though it can be by no means definitive. Like this one, which I particularly liked:
Generally speaking [my partner usually attempts forlornly to shut me up when I start a sentence like that], we may say that only the visitor (and particularly the tourist) has a viewpoint; his perception is often a matter of using his eyes to compose pictures. The native, by contrast, has a complex attitude derived from his immersion in the totality of his environment. The visitor’s viewpoint, being simple, is easily stated. Confrontation with novelty may also prompt him to express himself. The complex attitude of the native, on the other hand, can be expressed by him only with difficulty and indirectly through behavior, local tradition, lore, and myth (63).
I think he misses here the role that art can play, the different ways in which a photographer/ painter/ writer/ self-aware person might compose scenes, layer history and character and experience on top of them. But I like to think about how we experience place when we’re not thinking about it, which this attempts to capture. He argues the vistor’s ‘evaluation of environment is essentially aesthetic…The outsider judges by appearance, by some formal canon of beauty. A special effort is required to empathize with the lives and values of the inhabitants (64).’
He is not initially writing about modern redevelopment here, but captures in a nutshell its purpose of attracting visitors and its ugliness as it discourages such empathy — and goes on to cite the work of Herbert Gans’ study of Boston’s West End, a much-loved neighbourhood demolished for urban renewal.
There is a section on changing views of mountains, and this:
A great Alpine tourist, Johann Jacob Scheuchzer of Zurich, made nine extensive trips through the mountains between 1702 and 1711. He was a botanist and a geologist. He made barometric measurements of height and theorized on how ice moved but he also gave a reasoned catalogue of Swiss dragons, arranged according to cantons.
A beautiful fragment from Thomas Traherne:
You never enjoy the world aright, till the sea itself floweth in your veins, till you are clothed with the heavens, and crowned with stars (98).
He reminded me of how we have lost our awe and fear in face of the wilderness — because nature no longer exists in the raw overwhelming power it once did. We have for the most part confined it to parks and preserves, big and wondrous as they are we are still aware of their boundaries and their vulnerability in our minds. He writes ‘As a state of the mind, true wilderness exists only in the great sprawling cities’ (112). I have to think about that.
I laughed when I read ‘The Sudan is monotonous and niggardly [! a word that dates this as surely as the all male pronouns] to the outsider, but Evans-Pritchard says that he can hardly persuade the Nuer who live there that better places exist outside its confines’ (114). Evans-Pritchard, what a dick. Only proving the point that it is often where we are raised that defines our aesthetic sense of a good place to live — and we desert dwellers often suffer for it. Yet sadly it still doesn’t stop people stealing the land.
There is a wonderful section that looks at the relationship between the natural world and how we depict and recreate it through art, words, gardens. He writes:
Only roughly do painted landscapes image external reality. We cannot depend on the visual arts to provide us with clues as to how particular places looked in the past; nor can we depend on them for what the artists personally delighted in, but we can take painted landscapes to be special structurings of reality that for a time enjoyed a measure of popular acclaim (122).
The contrast between Chinese landscapes and others:
…the Chinese have never developed linear perspective with the mathematical rigidity that for a time found favour in European painting. Perspective existed but from shifting standpoints. There is no single horizon. Elements in the landscape are drawn as though the eye were free to vary the horizontal direction along which it looks into the depth of a picture (137).
I love his discussion of cathedrals, in medieval times surrounded by clusters of buildings, never really meant to be seen in its entirety:
…to see the cathedral from a distance would diminish its impact of bulk and verticality. The details of its facade would no longer be visible. The medieval cathedral was meant to be experienced; it was a dense text to be read with devout attention and not an architectural form to be merely seen. In fact some figures and decorations could not be seen at all. They were made for the eyes of God (137-138).
From cathedrals to gardens — it’s like he knows my favourite things. Clearly there is a relationship here with traditional Chinese landscapes:
The Chinese garden evolved in antithesis to the city. Poised against the rectilinear geometry of the city are the natural lines and spaces of the garden. In the city of man one finds hierarchical order, in the garden the complex informality of nature, Social distinctions are discarded in the garden where man is free to contemplate and commune with nature in neglect of his fellow human beings. The garden is not designed to give the visitor a certain number of privileged views; seeing is an aesthetic and intellectual activity that puts a distance between the object and the observer. The garden is designed to involved, to encompass the visitor who, as he walks along a winding trail, is exposed to constantly shifting scenes (138).
How liberating these must have seemed to Europeans, and he captures their gardens perfectly:
The garden was for show: it glorified man. From the royal bedroom at Versailles the Sun King of France could gaze down a long central vista, which was made to seem even longer by the flat sheets of water and the sentinel of trees. Such a show of human will in formal design left no sense of nature or of the divine.
… emphasis is put on the increasing tendency to see the garden as an environment for the house, the garden as a place of controlled aesthetic experience from a limited number of standpoints. The garden caters primarily to sight. .. the habitual use of the eyes leads us to appreciate the world as a spatial entity of well-defined lines, surfaces and solids. The other senses teach us to perceive the world as a rich unfocused ambiance (140).
I am loving thinking that through, turning it over in my mind. Tuan then looks at how this translates into language, which is rather fascinating I confess, though I am wary of such generalisations:
The cosmos of premodern man was multistoried; nature was rich in symbols, its objects could be read at several levels and evoke emotion-laden response. We are aware of ambiguity in language. The language of ordinary discourse, and a fortiori of poetry, is rich in symbols and metaphors. Science, by contrast, strives to remove the possibility of multiple readings. A traditional world has the ambiguity and richness of ordinary and ritual speech. The modern world, on the other hand, aspires to be transparent and literal (141).
Again it is a shutting down of meaning, of richness into clean definitions. This reminds me of Voloshinov and especially Bakhtin’s celebrations of the carnival of language and how that continues always, but often in opposition of those who would seek to control and kill it.
I feel that there is so much in here that offers a particular insight to a particular problem, roughly like a cloud forming I feel what it might mean for our lived spaces and how we experience them — how they experience us. Do they encompass us, hold us, are they forced to frame our greatness like a backdrop or inspire others with an awe of our power over them. Do they control our points of view, our interactions with others, or do they allow us to relax, look and wander, feel respite from the presence of people. I still struggle with this book as a whole, want to move on to something a little more concrete. This is far too abstract for the intensity of connection I feel, and I know others feel, for certain places and the struggle that invariably arises over that under capitalism.
It was also particularly rich in the final sections on the city, so those will fill a future post…