The objective is to describe different landscape approaches. To carry this out, multiple information sources were analysed, recorded and discussed, selecting the most expressive approaches of the theoretical rationality from which the landscape is conceived. It was found that having the painting landscape born in the Middle Ages, it is studied today by aesthetics as an artistic representation, as a geosystem by geography, as an ecosystem by ecology and as a subjective appropriation of the territory by sociology, anthropology and semiotics. However, the contemplative landscape experience was predominantly carried out under aesthetic form, but it is not a perspective sufficiently attended. Alongside with the artistic representation of the landscape, constitutes the most reliable perspective of the landscape concept.

The aim of this work is to argue that creativity is given in all forms of consciousness and that could open new perspectives in the research of the processes of formation of subjects. The most important result is that all the forms of consciousness have an enormous diversity of referents of the different modes of appropriation of the real, they are provided of imagination and critical capacity and only in the artistic consciousness creativity is condition for its existence.

The conscience of a person is a condensation of the social conscience of the historical moment of his/her constitution. The conscience is formed with referents that derive from diverse manners of appropriation of the real, which turn into a condition of incorporating new referents, which are translated into its logic of operation. The conscience is dialectical as dialectical is the reality that represents. The mutability of the real and of its representation in the conscience, places critical dialectics in a relation of correspondence to the real with thinking and postulates the possibility of social knowledge for the intentional empowerment of the real.

En medio de una fuerte confusión epistemológica, la incorporación del paisaje como objeto de investigación científica lo ha despojado de su esencia estética. Con la finalidad de esclarecer la situación, se analizó la literatura sobre el tema considerada más importante para conocer su filiación filosófica y la estructura de su racionalidad teórica. Como resultado, se encontró que, en la mayoría de los casos, se trata simplemente de la sustitución de los vocablos territorio, geosistema y ecosistema por el de paisaje, lo cual redujo la investigación al conocimiento de los componentes del sustrato material del territorio o de las relaciones establecidas entre ellos y expulsar al sujeto del objeto.