Wilderness provides a multidisciplinary introduction into the diverse ways in which we make sense of wilderness: how we conceptualise it, experience it, interact with, and imagine it. Drawing upon key theorists, philosophers, and researchers who have contributed important knowledge to the topic, this title argues for a relational and process based notion of the term and understands it as a keystone for the examination of issues from conservation to more-than-human relations. The text is organized around themed chapters discussing the concept of wilderness and its place in the social imagination, wilderness regulation and management, access, travel and tourism, representation in media and arts, and the use of wilderness for education, exploration, play, and therapy, as well as its parcelling out in parks, reserves, or remote "wastelands". The book maps out the historical transformation of the idea of wilderness, highlighting its intersections with notions of nature and wildness and teasing out the implications of these links for theoretical debate. It offers boxes that showcase important recent case studies ranging from the development of adventure travel and eco-tourism to the practice of trekking to the changing role of technology use in the wild. Summaries of key points, further readings, Internet-based resources, short videos, and discussion questions allow readers to grasp the importance of wilderness to wider social, cultural, political, economic, historical and everyday processes. Wilderness is designed for courses and modules on the subject at both postgraduate and undergraduate levels. The book will also assist professional geographers, sociologists, anthropologists, environmental and cultural studies scholars to engage with recent and important literature on this elusive concept.

Innovative artists in 1960s Japan who made art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support—with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of “international contemporaneity” (kokusaiteki dōjisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of “vanishing of matter” and the practice of “meditative visualization” (kannen); The Play, a collective of “Happeners”; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of “formless emissions” organized by Matsuzwa; the launching of a huge fiberglass egg—“an image of liberation”—from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making “connections” and finding “resonances” between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally “similar yet dissimilar” characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.

"Written for wilderness and wildlands stewards and managers, wilderness advocates, and environmental educators everywhere, this revised fourth edition retains relevent material from from the first three editions and embraces new literature, research, legislation, policies, and approaches emerging in wilderness stewardship during the last decade." Back cover.

Deciding what user impacts are natural or unnatural has inspired much debate. Biophysically, moose cause similar kinds of soil and vegetation impacts as hikers. Yet moose are the sign of nature while hikers are the sign of damage. The field of outdoor recreation is beset with paradoxes, and this book presents a unique, alternative framework to address these dilemmas. Examining outdoor recreation through the lens of ecological theory, Ryan draws from theorists such as Foucault, Derrida and Latour. The book explores minimum impact strategies designed to protect and enhance ecological integrity, but that also require a disturbing amount of policing of users, which runs counter to the freedom users seek. Recent ecological theory suggests that outdoor recreation's view of nature as balanced when impacts are removed is outdated and incorrect. What is needed, and indeed Ryan presents, is a paradoxical and ecological view of humans as neither natural nor unnatural, a view that embraces some traces in nature.