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Valued Landscape in Memory: The View from Prebends' Bridge

D. C. D. Pocock
Transactions of the Institute of British Geographers
Vol. 7, No. 3 (1982), pp. 354-364
DOI: 10.2307/621996
Stable URL: http://www.jstor.org/stable/621996
Page Count: 11
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Valued Landscape in Memory: The View from Prebends' Bridge
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Abstract

The memory of the classical view from Prebends' Bridge was tested in two stages of introspection by respondents after their departure from Durham, one in anticipating their photograph in sketch-form, then later in reacting to sketch and photograph in relation to the view as remembered. The reconstruction in memory, which retained some items 'larger than life' while reducing or omitting others, was preferred to the reproduction by camera. The memory thus engages the subjectivity of the artist. Turner's painting of the scene may be considered a memory made visible.

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