We are so used to the space around us, that we can only get a good perception of it at a considerable distance.
In the West, the landscape art had to wait until the Renascence to be regarded as such. Being there is not enough to guarantee the nature's show. It was need to the man to get away from the fields, so that he could appreciate the nature as a picturesque sight. Despite all the polemics, the adventure of the words indicates the fact order: a certain art ( of the landscape) gave rise to the beauty of the nature ( which became picturesque), and not the opposite.
In fact, it is not sufficient to be beautiful for something to inspire art, rather the contrary, something can only inspire beauty if it adjust with a aesthetic sentimentality. It is for that reason that, when we say that some natural scene is picturesque, is that we recognize in it a certain aesthetic sentimentality as if it reminds an artistic sight ("it can became a beautiful picture").
The landscape can only be born bringing a aesthetic feeling, in a sight of a person from a city who see it from apart. Art as well as landscape is an attitude of the conscience and the sate of the soul.
The landscape feeling can only be born when, one day, the man become to see the earth after being put apart from it (the cities growing, the discovery of a new world and a liberal religiosity are in a base of historical events which generates the landscape art).
In the Renascence threshold, a same movement became art from the images, and became landscape from the fields: it is when men. created as a God image, turn to earth and creates the nature as his image. Yes, we also could say that a certain art generates our nature, which in its turn, generated our art. So there are a question, when this art transform and when this nature disappear (or it could be the opposite), what remains for us?
With Visorama, we try to potentialize the mobility of the way people see, through the use of an interactive technology (info-graphics visualization), which allow the person to observe the simulated space as he was in front of a real space, with some advantage.
There is the possibility of a journey through time, that is, the spectator can choose to see the urban space as it was in a certain moment of his history. The spectator can choose, for example, to see between the capital of Brazil when it was a colony or the modern city which results came from the rebuild of Pereira Passos.
With Visorama, we can visualize the urban space as it was not only a drawing in constant mutation, but specially a space build of different extracts _at the same time geographic, history and artistic_, which creates a kind of dramaturgy of Rio de Janeiro's landscape.