Please Install Flash Player
Download from here
Please Install Flash Player
Download from here

Our Product Range


Subscribe Newsletter

 Subscribe  Unsubscribe

Share With Us


Picturesque and cultural modes of travel philosophy  

Picturesque verses the cultural view


The subjective sense of being a traveller entails a kind of reflective monologue that has descriptive prose. A typical example is that of being a lone traveller. So consider a solo touring cyclist. There are recurring themes given a similar mode travel. However what is distinct are the intentions and interpretations of the traveller, even though certain ideas may bring about perceptual universalism. Travellers’ are cohorts of persons that broadly have some core similarities.

The intention to satisfy basic needs are common to all travellers’. However apart from basic needs, there are two basic divergent senses for travel. One sense is a focus on inter-subjectivity of travel. The other is the picturesque view. The former has a focus on culture were as the later has a focus on a visual form filtered through a theory of beauty.

Classic travel accounts show the contrast as in the account. In Argonauts of the Western Pacific, Malinowski demonstrates the two kinds of visions of place. In his ecological or naturalistic focus (1922) he describes arrival on an islands of Trobriand as: we now enter an opaque, greenish sea, whose monotony is broken only by a few sandbanks, some bare and awash, others with a few pandanus trees squatting on their air roots, high in the sand. (1922: 49)

This kind of romanticism that has lost a bit of credibility given it requires a kind of detachment that few can manage to sustain. However travellers’ do not fit the conventional tourist phenomenon. Their travelogues extend the notion of a casual sojourn to something of an epic adventure, even if its not of the classic form like that of that of David-neel’s ‘Voyage a Lhassa (1927) and Maillart’s Oasis interdites (1937) that offer insights into the European imaginary for the exotic. This image of the slightly eccentric traveller embedded in the colonial world, and even more so of women who travelled alone or with “native men” as guide, or even abandoning their privileged identity altogether.

Travel within tecnologically driven globalization has metamorphosed into that of mass individual pursuits for the unique. It may involve some intense immersion with a group or participating within a grass roots non state actor capacity in humanitarian aid, or as individualism permits, there is the possibility for continuous wondering in areas or relative peace, enjoying the myriad of sensory delights an endless stream of brief encounters with others.






Global modernities.

The notion of cultural immersion as a form of travel relates to the politics of identity and difference. So whereas the picturesque moves the traveller to universalising philosophies, akin to humanism and naturalism, though in contrast cultural immersion takes on relativistic philosophies that advocate multi nationalities, ethnicity, gender and linguistic identity.

Though relativism does not dismiss notions of justice, even if the system may be distinct from any particular nation state. A selective cultural immersion might include an aspect of the private such as religious belief, but also markers that move beyond universal ideological positions, such as working class adhering to a form of garb, slang, sexual stance, music and leisure time activities.

The picturesque is generally typified by travellers’ who are ever on the move. The journal entries of for example cyclists on tour list a multitude of brief encounters with locals. What stands out with brief encounter travel is that what occurs are based on a well planed and resourced trip that has a definite beginning and end point. Travel is conceptually a movement between to points as in a beginning and end of the journey. The journal plays a specific role of documenting activities through various medium. This is usually through narrative text along with photo documentation of stages of the journey. The sense of adversity can become part of what pushes the narrator on to overcome and then consolidate resources.

Post New Comments    

Home | About Us | Sculpure Gallery | Tropical Landscaping | Exhibits | Contact Us | News | Sitemap| BlogsWe Accept:    

© Copyright 2010 Tropic Sculpture. All right reserved.
Powered by Re-Boot IT Solutions