@article{oai:nagoya.repo.nii.ac.jp:00029202,
 author = {茂登山, 清文 and Motoyama, Kiyofumi},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {This paper considers how photography mediates landscapes and what imagery arises from it, focusing on the interaction between landscape and photography. Until the last quarter of the 19th century, landscape painting was recognized as an independent genre by the Academy of Art. It coincides with the epoch when proto-photographers experimented and invented photography. Landscape photographs can be interpreted as the ambivalent attitude of humans towards nature, desire for control and form of escape. Two works are investigated in this paper: one is the High Line in New York and the other Francesc Torres's Memory Remains: 9/11 Artifacts at Hangar 17. The High Line is a park open to the public, built after the demolished railway tracks. In this case, photographs taken by Joel Sternfeld have played an important role for the process of preservation. The renovated landscape, designed by horticulturist Piet Oudolf, is similar to these photos, and thus its former landscape, which provided scenery like prairies where predatory animals live. Torres's artwork was exhibited in the show Remembering 9/11 held in commemoration of the tenth anniversary of the September 11 at the International Center of Photography in New York. He took photographs of the artifacts in Hangar 17 at JFK Airport, removed from the WTC site. Torres "watched the graphic destruction" from his apartment two blocks away. However, these images offer various "real" images concerning the tragic incident to the viewers. The environment in which he had stayed for five weeks taking pictures functions as a landscape full of information including time-related variation. Both works would be appreciated aesthetically partly because of the ambivalence mentioned above, which refers to Jay Appleton's Prospect-Refuge Theory. The landscape and photography penetrate each other and the distance between them might not be so far as imagined.},
 pages = {64--74},
 title = {風景写真のメディアとイメージャリ : ハイラインと≪Memory Remains≫},
 volume = {4},
 year = {2013}
}