J.B. Jackson, a pioneer in the field of landscape studies, here takes us on a tour of American landscapes past and present, showing how our surroundings reflect important changes in our culture. Because we live in urban and industrial environments that are constantly evolving, says Jackson, time and movement are increasingly important to us and place and permanence are less so. We no longer gain a feeling of community from where we live or where we assemble but from common work hours, habits, and customs. Jackson examines the new vernacular landscape of trailers, parking lots, trucks, loading docks, and suburban garages, which all reflect this emphasis on mobility and transience; he redefines roads as scenes of work and leisure and social intercourse--as places, rather than as means of getting to places; he argues that public parks are now primarily for children, older people, and nature lovers, while more mobile or gregarious people seek recreation in shopping malls, in the street, and in sports arenas; he traces the development of dwellings in New Mexico from prehistoric Pueblo villages to mobile homes; and he criticizes the tendency of some environmentalists to venerate nature instead of interacting with it and learning to share it with others in temporary ways. Written with his customary lucidity and elegance, this book reveals Jackson's passion for vernacular culture, his insights into a style of life that blurs the boundaries between work and leisure, between middle and working classes, and between public and private spaces.
An Introduction to the Thought of P. T. Forsyth Through His Writings
Author: P. T. Forsyth
Pubpsher: Wipf and Stock Publishers
This omnibus contains in their entirety The Divine Self-EmptyingÓ, The Holy FatherÓ, The Living ChristÓ, Christian PerfectionÓ, The Taste of Death and the Life of GraceÓ, The Soul of PrayerÓ, This Life and the NextÓ.
The focus is the coast at Westward Ho! and the passage of time. The landscape holds a memory of past events. On this walk these memories are revealed layer by layer. History, ecology, archaeology, geomorphology, geology all contribute to the resonance of this place. A little imagination allows us to travel in time.
The cosmos itself is not governed or regulated by time but by chance, so cosmology can never appear consistently logical. Time and regulation are human concepts. The ‘points and instants’ notion is no longer credible. Points are our basic intellectual tools since the instants arise through moving from point to point, making time discrete. A.N. Whitehead’s definition of time as “a sequence of non-interacting moments” is credible. Russell also said “There is no longer a universal time...” And Professor Eddington observed that time does not ‘flow’. The Minkowski 4-D geometry is seen as plainly false, and so time travel is impossible. There are no days in nature at all. There is only one constant day. All existence is daylight. The nights are freakish and irrelevant. The earth’s rotations are just flippant shadows over reality. Nothing in astronomy happens only by night and not by day. Logically deduced, time appears to be human and we can solve the problem of how it passes by, too.”
Journey with Silvia Pettem through Boulder's history in Boulder: A Sense of Time & Place Revisited. Watch the evolution from a frontier mining town to the "Athens of the West." Learn of murder and bootleggers in the 1920s, survive the Great Depression and follow Boulder's postwar growing pains as the city matures and residents reflect on its past. Each article is a story in itself but only a small piece of what makes Boulder the city it is today.
In order for musical structure to be understood and appreciated as coherent design, the raw material must be shaped and clarified by the listener's perceptual processes of selection and organization. Going beyond the boundaries of traditional analytic observation, Barbara Barry explores the concept of experiential time in a specifically musical and philosophic context, delving into the aspects of perceptual process (the interrelationship between subjective and objective perception of musical compositions and performance). A wealth of published experimental findings and writings on music theory and the philosophy of time are cited, accompanied by numerous musical examples, here brought together in a supporting interpretation and theoretical exemplification.