El paisaje se define como un espacio geográfico con características morfológicas y funcionales similares en función de una escala "Escala (cartografía)") y una localización. Paisaje es todo lo que alcanza la visión, lo que llega a los sentidos. Está formado por volúmenes, colores, olores, movimientos, sonidos, etc. Diferentes personas presentan diferentes percepciones de un mismo paisaje.[4]​ La escala vendría definida por el tamaño del paisaje o, lo que es lo mismo, el tamaño de la "visión" del observador. Por ejemplo, un paisaje regional") como un gran desierto puede esconder paisajes diferenciales a escala local.

La localización es la posición del volumen del paisaje respecto a un sistema de referencia, modelizado por la cartografía.

En la tradición de ciencias del paisaje se han establecido tres elementos o subsistemas principales que componen los paisajes: abióticos (elementos no vivos), bióticos (resultado de la actividad de los seres vivos) y antrópicos (resultado de la actividad humana). Determinar estos elementos es lo que constituye el primer nivel del análisis geográfico. Las posibilidades combinatorias, prácticamente infinitas, que se pueden dar entre ellas determina las características de un paisaje en particular.[5]​.

The landscape in physical geography

The landscape arises from the interaction of the various geographical agents"). These agents are material and energetic from which forms and processes derive. They are classified as Lithosphere, Atmosphere, Hydrosphere and Biosphere. The latter differentiates the Anthroposphere (Technosphere"), a novel ecosystem")[6] formed by human populations and which plays a differentiated role as an agent of the landscape, even generating a new era in the history of the Earth (the Anthropocene).

The interaction of these agents forms the wide spectrum of landscapes defined by their geographical characteristics. The relationship that exists between all its constituent elements is multicausal and dynamic. Changes are both a product and a condition of the dynamics of landscapes, in which humans play a specific role.

The biosphere sits on the surface, which is the contact zone between the different spheres, and especially in the hydrosphere. The biosphere transforms the surface landscape but is then limited according to its functional characteristics to lithological reliefs, atmospheric characteristics (climates) and water availability.

In a special way, the anthroposphere formed by human beings in their social organization and in their settlement and use of the territory stands out in the biosphere. Since its influence covers almost every corner of the planet, the landscape is no longer defined by its natural agents, natural landscapes are only marginal and residual spaces.

In the definition of landscape given to us by the Spanish physical geographer María de Bolós, another theory of the landscape of a geophysical nature is evident, in which the existence of three fundamental elements is appreciated: the characteristics of the geosystem that defines them, the size referred to a spatial scale (epigeosphere, that is, a system open from the cosmos as well as towards the interior of the earth) and the period of time considered in the temporal scale (dating methods - absolute and relative - and time scales). chronological – megascale, macroscale, mesoscale and microscale).[7]​.

The age of a landscape is measured according to the author, as soon as it begins to function as a system, like the current geosystem that it is. Ancient landscapes are those in whose formation all the elements appear at the same time in a dynamic form that has long been similar to the current dynamics they present. New landscapes are not born out of nothing, but rather they are mostly radical or extensive anthropizations of the old ones, these can appear due to: "anthropogenic causes, climate changes, recent tectonic movements, modifications in the coastline, land emergence or formation of new islands" [among the main ones].[8]​.

A cultural landscape is transformed from the natural landscape. The cultural landscape is the result of this transformation.[9]​.

It is the case in very few communities that their bases know their cultural landscapes and protect them as such, since they do not see any tangible value:.

"Society, when contemplating a landscape, will assign it a positive or negative value depending on the perception it provides (beautiful, pleasant, etc.), but with greater difficulty will be able to recognize a historical meaning related to its extensive process of configuration. It is necessary, therefore, to raise awareness among society, but also to educate it about the value of the cultural landscape as a heritage element. This requires knowing these landscapes (genesis, interrelation between structures, etc.) and this process, in turn, It will facilitate the real protection of the landscape as an environmental element, but also as a social, cultural and heritage element beyond mere legal protection”[10]​.

Depending on the interest it is used, symbolic and cultural production – whether in cultural landscapes, cultural histories or the reconstruction of collective memory – can also be a resource for the dominant classes to distinguish themselves and transmit distorted information.[11]​ When we realize that symbolic relations between men are also power relations, we understand that the academic study of representations must be accompanied by the analysis of another region of the superstructure: politics[12]​.

In summary, cultural landscapes are essentially multidimensional constructions, the result of the interaction of historically determined structures and contingent processes.[13]​ As a framework for human activity and the setting for their social life, human landscapes in general are a historical construction resulting from the interaction between biotic and abiotic factors of the natural environment.[14]​ Any historical interpretation must start from the understanding of this dynamic.[15]​ It is necessary, therefore, that all landscapes be considered as a consequence of the long-term socio-natural coevolution.[16]​ On the other hand, from the evolutionary point of view, landscapes are the result of historical dependence on meaning, that is, arbitrary, unforeseen elements frequently emerge that determine subsequent historical development[17]​.

One of the ways in which global organizations have decided to protect and conserve certain cultural landscapes that have important qualities for humankind is through the World Heritage Declarations[18]​ made from time to time by UNESCO.[19]​.

Paint

From cave paintings until the 19th century, nature appeared very rarely in pictorial works as a valuable landscape in itself.

Chinese artists, starting in the 19th century, are credited with 'discovering' the landscape as a pictorial element, under the influence of Buddhism and its conception of nature. In Europe, landscape did not appear until the Renaissance, progressively increasing its presence in works of art and becoming an object of interest in itself and not as the background of a religious composition or a portrait. But it did not gain the category of pictorial genre until the century in the Netherlands, a country that developed an important landscape school, represented by artists such as Jacob van Ruysdael.[20]​.

In the 19th century, the Dutch example became universal, becoming one of the objectives of pictorial realism, and especially in France through the Barbizon School and plenairism (painters painted outdoors and not in their studios). This new interest in capturing a fleeting moment of light or an anecdote, in the middle of nature, promoted the use of techniques such as watercolor, with greater speed of execution, and loose brushstrokes in search of achieving an impression more than a drawing, one of the keys to impressionism.[21]​.

In chronologically different moments in the East and the West, geography and nature ceased to be an object of fear or symbolic space of the mythical powers or spirits of the region to become an aesthetic object, and therefore the objective of the work of art.[note 1][22]​.

http://www.catedraunesco.eu/.

http://oa.upm.es/13532/2/ALEJANDRO_GOMEZ_VILLARINO_2.pdf.

Contenido

Desde el año 2000 existe el ELC (European Landscape Convention o, en español, Convenio Europeo del Paisaje (CEP), también llamado Convención de Florencia , cuyo documento fundacional entró en vigor el 1 de marzo de 2004 y ya ha sido firmado y ratificado (20-08-2008) por 29 de los 46 países miembros del Consejo de Europa (y firmado por otros seis). España lo ratificó en el año 2008 y entró en vigor el 1 de marzo de ese año.

Su propósito general es establecer un marco para la protección, gestión y planificación de los paisajes europeos. Su objetivo último es conservar y mejorar su calidad. Las estrategias que plantea animan a la implicación del público, las instituciones, autoridades y agentes locales, regionales, nacionales e internacionales en procesos de toma de decisiones públicas.

El Convenio reconoce todas las formas de los paisajes europeos: naturales, rurales, urbanos y periurbanos, y tanto los emblemáticos como los ordinarios y los deteriorados. Este recurso, no renovable, se define según el CEP como:.

“cualquier parte del territorio, tal como la percibe la población, cuyo carácter sea el resultado de la acción y la interacción de factores naturales y/o humanos (Art. 1)”[2]​.

Social construction of the landscape

We can interpret the landscape as a social product, as a result of a collective transformation of nature and as the cultural projection of a society in a given space. That is, the landscape is not the nature or the place that is contemplated, but what is built from them.

This definition of the concept analyzes the multiple dimensions that guide its construction, resulting in what is called the cultural dimension of society. From this starting point, the landscape is the reflection on the power relations (ethnicity, gender, age, classes...) where the production and reproduction of the landscape is framed as an anchoring point of the inhabitant in the environment.[3]​.

El paisaje se define como un espacio geográfico con características morfológicas y funcionales similares en función de una escala "Escala (cartografía)") y una localización. Paisaje es todo lo que alcanza la visión, lo que llega a los sentidos. Está formado por volúmenes, colores, olores, movimientos, sonidos, etc. Diferentes personas presentan diferentes percepciones de un mismo paisaje.[4]​ La escala vendría definida por el tamaño del paisaje o, lo que es lo mismo, el tamaño de la "visión" del observador. Por ejemplo, un paisaje regional") como un gran desierto puede esconder paisajes diferenciales a escala local.

La localización es la posición del volumen del paisaje respecto a un sistema de referencia, modelizado por la cartografía.

En la tradición de ciencias del paisaje se han establecido tres elementos o subsistemas principales que componen los paisajes: abióticos (elementos no vivos), bióticos (resultado de la actividad de los seres vivos) y antrópicos (resultado de la actividad humana). Determinar estos elementos es lo que constituye el primer nivel del análisis geográfico. Las posibilidades combinatorias, prácticamente infinitas, que se pueden dar entre ellas determina las características de un paisaje en particular.[5]​.

The landscape in physical geography

The landscape arises from the interaction of the various geographical agents"). These agents are material and energetic from which forms and processes derive. They are classified as Lithosphere, Atmosphere, Hydrosphere and Biosphere. The latter differentiates the Anthroposphere (Technosphere"), a novel ecosystem")[6] formed by human populations and which plays a differentiated role as an agent of the landscape, even generating a new era in the history of the Earth (the Anthropocene).

The interaction of these agents forms the wide spectrum of landscapes defined by their geographical characteristics. The relationship that exists between all its constituent elements is multicausal and dynamic. Changes are both a product and a condition of the dynamics of landscapes, in which humans play a specific role.

The biosphere sits on the surface, which is the contact zone between the different spheres, and especially in the hydrosphere. The biosphere transforms the surface landscape but is then limited according to its functional characteristics to lithological reliefs, atmospheric characteristics (climates) and water availability.

In a special way, the anthroposphere formed by human beings in their social organization and in their settlement and use of the territory stands out in the biosphere. Since its influence covers almost every corner of the planet, the landscape is no longer defined by its natural agents, natural landscapes are only marginal and residual spaces.

In the definition of landscape given to us by the Spanish physical geographer María de Bolós, another theory of the landscape of a geophysical nature is evident, in which the existence of three fundamental elements is appreciated: the characteristics of the geosystem that defines them, the size referred to a spatial scale (epigeosphere, that is, a system open from the cosmos as well as towards the interior of the earth) and the period of time considered in the temporal scale (dating methods - absolute and relative - and time scales). chronological – megascale, macroscale, mesoscale and microscale).[7]​.

The age of a landscape is measured according to the author, as soon as it begins to function as a system, like the current geosystem that it is. Ancient landscapes are those in whose formation all the elements appear at the same time in a dynamic form that has long been similar to the current dynamics they present. New landscapes are not born out of nothing, but rather they are mostly radical or extensive anthropizations of the old ones, these can appear due to: "anthropogenic causes, climate changes, recent tectonic movements, modifications in the coastline, land emergence or formation of new islands" [among the main ones].[8]​.

A cultural landscape is transformed from the natural landscape. The cultural landscape is the result of this transformation.[9]​.

It is the case in very few communities that their bases know their cultural landscapes and protect them as such, since they do not see any tangible value:.

"Society, when contemplating a landscape, will assign it a positive or negative value depending on the perception it provides (beautiful, pleasant, etc.), but with greater difficulty will be able to recognize a historical meaning related to its extensive process of configuration. It is necessary, therefore, to raise awareness among society, but also to educate it about the value of the cultural landscape as a heritage element. This requires knowing these landscapes (genesis, interrelation between structures, etc.) and this process, in turn, It will facilitate the real protection of the landscape as an environmental element, but also as a social, cultural and heritage element beyond mere legal protection”[10]​.

Depending on the interest it is used, symbolic and cultural production – whether in cultural landscapes, cultural histories or the reconstruction of collective memory – can also be a resource for the dominant classes to distinguish themselves and transmit distorted information.[11]​ When we realize that symbolic relations between men are also power relations, we understand that the academic study of representations must be accompanied by the analysis of another region of the superstructure: politics[12]​.

In summary, cultural landscapes are essentially multidimensional constructions, the result of the interaction of historically determined structures and contingent processes.[13]​ As a framework for human activity and the setting for their social life, human landscapes in general are a historical construction resulting from the interaction between biotic and abiotic factors of the natural environment.[14]​ Any historical interpretation must start from the understanding of this dynamic.[15]​ It is necessary, therefore, that all landscapes be considered as a consequence of the long-term socio-natural coevolution.[16]​ On the other hand, from the evolutionary point of view, landscapes are the result of historical dependence on meaning, that is, arbitrary, unforeseen elements frequently emerge that determine subsequent historical development[17]​.

One of the ways in which global organizations have decided to protect and conserve certain cultural landscapes that have important qualities for humankind is through the World Heritage Declarations[18]​ made from time to time by UNESCO.[19]​.

Paint

From cave paintings until the 19th century, nature appeared very rarely in pictorial works as a valuable landscape in itself.

Chinese artists, starting in the 19th century, are credited with 'discovering' the landscape as a pictorial element, under the influence of Buddhism and its conception of nature. In Europe, landscape did not appear until the Renaissance, progressively increasing its presence in works of art and becoming an object of interest in itself and not as the background of a religious composition or a portrait. But it did not gain the category of pictorial genre until the century in the Netherlands, a country that developed an important landscape school, represented by artists such as Jacob van Ruysdael.[20]​.

In the 19th century, the Dutch example became universal, becoming one of the objectives of pictorial realism, and especially in France through the Barbizon School and plenairism (painters painted outdoors and not in their studios). This new interest in capturing a fleeting moment of light or an anecdote, in the middle of nature, promoted the use of techniques such as watercolor, with greater speed of execution, and loose brushstrokes in search of achieving an impression more than a drawing, one of the keys to impressionism.[21]​.

In chronologically different moments in the East and the West, geography and nature ceased to be an object of fear or symbolic space of the mythical powers or spirits of the region to become an aesthetic object, and therefore the objective of the work of art.[note 1][22]​.

http://www.catedraunesco.eu/.

http://oa.upm.es/13532/2/ALEJANDRO_GOMEZ_VILLARINO_2.pdf.