This short note considers the migration of the skyscraper from New York and Chicago to Asia and its absence in the emerging megacities of the Global South. Following 9/11, many commentators assumed that the skyscraper was finished, but this was clearly not the case, with super-tall construction now accelerating. However, the distributions of contemporary skyscrapers show us that there are shifts in global power and also in urban form.

The article is a kind of “project essay” or “brain storm” concerning skyscraper cities. It proposes different approaches for the study of this subject. Starting with the observation that in Danish traditional houses are lying, whereas skyscrapers are “standing”, different phenomenological and discursive perspectives for the study are sketched. The article also suggests that the analysis of contemporary skyscraper cities can shed new light on more traditional cities in the same way as new media illuminate the characterics of old (...) media. (shrink)

The Manhattan skyline is one of the great wonders of the modern world. But how and why did it form? Much has been written about the city's architecture and its general history, but little work has explored the economic forces that created the skyline. In Building the Skyline, Jason Barr chronicles the economic history of the Manhattan skyline. In the process, he debunks some widely held misconceptions about the city's history. Starting with Manhattan's natural and geological history, Barr moves on (...) to how these formations influenced early land use and the development of neighborhoods, including the dense tenement neighborhoods of Five Points and the Lower East Side, and how these early decisions eventually impacted the location of skyscrapers built during the Skyscraper Revolution at the end of the 19th century. Barr then explores the economic history of skyscrapers and the skyline, investigating the reasons for their heights, frequencies, locations, and shapes. He discusses why skyscrapers emerged downtown and why they appeared three miles to the north in midtown-but not in between the two areas. Contrary to popular belief, this was not due to the depths of Manhattan's bedrock, nor the presence of Grand Central Station. Rather, midtown's emergence was a response to the economic and demographic forces that were taking place north of 14th Street after the Civil War. Building the Skyline also presents the first rigorous investigation of the causes of the building boom during the Roaring Twenties. Contrary to conventional wisdom, the boom was largely a rational response to the economic growth of the nation and city. The last chapter investigates the value of Manhattan Island and the relationship between skyscrapers and land prices. Finally, an Epilogue offers policy recommendations for a resilient and robust future skyline. (shrink)

Megaprojects are implemented by different organisations, such as owners, consultants, and contractors. Gradually, these organisations and their connections can form business networks that influence both the market position of individual organisations and project performance. Previous research on large-scale projects mainly focused on static and homogeneous networks that were constructed by one individual project and/or carried out over one-off collaboration. However, this neglected the consideration of project network diversity, as well as repetitive, dynamic, cross-project coopetition relationship and long-term business networks formed (...) by key actors. Here, we chose Chinese skyscrapers over 300 meters that were built from 1996 to 2015 as typical megaproject cases and analysed the formation and evolution of megaproject business networks from the perspective of interorganisational coopetition. We identified the key actors involved and empirically studied their dynamic network positions over time. The main contributions of this study are threefold. First, we found that past collaboration experience has direct and dynamic impacts on the formation of megaproject business networks. Second, we identified key actors in the interorganisational business network and unveiled their dynamic positions with clear patterns. Third, we highlighted the temporal-spatial effect on the formation and development of business networks, alongside developments in the megaproject market. The findings of this study also provide practical applications for owners to choose collaboration partners and to build high-performance teams and for suppliers to enter and sustain the business in the megaprojects networks. (shrink)

Abstract:Sustainable development and built heritage are oft-naturalized hegemonic discourses of the dominant social class. However, under the lens of critical sociomateriality, these categories destabilize—and in Brexit-era London, epicenter of a financial and technological capitalist circulatory space, “all that is solid melts” into the scopal regime of London's View Management Framework (LVMF). Analyzing multiple discourses of Southwark's Strata SE1— billed London's first “sustainable tower”—and adaptive reuse of the historically preserved Lambeth Water Tower, I argue that these structures constitute ‘interface objects’ in (...) a broader relational geography imbricating physical material, social objects, gentrification and the naturalized epistemologies of hegemonic development within London's skyline itself. I offer a reading of critical sociomateriality which illuminates rhythms of daily life within spatial-technological systems of energy provision, urban metabolic processes, as well as “hegemonic premiums,” what Richard Barras terms expected return on symbolic capital vis-à-vis the dominant panopticism of the LVMF. This paper contributes a theorization of critical sociomateriality, operating across a diversity of scales, tactics, and disciplines, analyzing discourses and practices which insinuate politics, artifacts, and technologies across contested issues. Critical sociomateriality is presented as a methodology for deconstructing tactics for inhabiting and interfacing with ‘sustainability’ through London's skyline in an unequal capitalist system marked by dissensus over runaway development, social precarity, and inequality in lived experiences of the urban environment. (shrink)

Vertical farming is a rapidly expanding type of indoor controlled environment agriculture whose promises have attracted widespread praise and considerable early-stage capital in recent years. Among vertical farming’s many claimed benefits, per-area productivity is frequently mentioned, proposing crop yields at least two orders of magnitude higher than outdoor field agriculture. These extremely high yields form the basis for a theory of land use change whereby yield-increasing technologies reduce or reverse the expansionary demands of lower-yielding farms, retaining or returning those areas (...) to “wild nature”. In a sensational articulation of this kind of intensification, from 2007 to 2017 many vivid proposals portrayed centrally located skyscraper farms as a key strategy for building self-sufficient cities. This skyscraper articulation of vertical farming captured the public imagination and led to substantial investment into contemporary vertical farming facilities, the majority of which are in large suburban high-ceiling single-story warehouses. This paper traces the politics of vertical farming’s land-sparing narratives beginning early in the twentieth century, with a closer analysis of two contrasting historical examples: Othmar Ruthner’s 1960s tower greenhouses, which closely resemble the imaginary skyscraper farms of the 2010s; and Noel Davis’ 1980s PhytoFarms, which more closely resembles the well-funded warehouse vertical farms of the 2020s. This analysis suggests that, despite their high yields, the extremely high capital investments needed to build the precise controlled environments of today’s vertical farms preclude the profitable production of staple crops, rendering them unlikely to fulfil their land-sparing promises. (shrink)

Consider the existence of six identical trees of the same species across a variety of environments. The first tree is in a wild and isolated landscape. The second is in a wilderness park. The third is in a heavily forested “tree plantation” owned by International Paper. The fourth is in the Ramble in Central Park. The fifth is in a suburban yard. The sixth is inside the six-story atrium of a Manhattan skyscraper. This paper begins with the intuition that the (...) identical trees have different values because they exist in different environments and biological-social contexts. To understand the different evaluations of the trees we must think along a spectrum that incorporates both axiology and ontology. This thought experiment is useful in exploring arguments about both the management and the preservation of the natural world. The conclusion is that we must think along a spectrum of natural being and value to understand the dualism between humanity and nature and thereby avoid the domination of the natural environment. (shrink)

This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a reformist attitude towards natural aesthetics. I (...) argue that these approaches fail. Third, development can be as aesthetically positive as nature. If it is simply beauty we are looking for, why can't the beauty of a wellconstructed dam or a magnificent skyscraper suffice? (shrink)

For most people the city, particularly the industrial city, is the antithesis of the aesthetic. While there may be sections that have their charm, trucks and automobiles have conquered the urban streets and pedestrians scurry before them like vanquished before a victor. Gardens and parks are occasional oases amidst the stone desert of concrete and asphalt, but the dominating features of urban experience remain mechanical and electronic noise, trash, monolithic skyscrapers, and moving vehicles. The personal and intimate are swallowed (...) up in mass structure and mass culture. And the human place—precarious and threatened. (shrink)

We tested whether analogical training could help children learn a key principle of elementary engineering—namely, the use of a diagonal brace to stabilize a structure. The context for this learning was a construction activity at the Chicago Children's Museum, in which children and their families build a model skyscraper together. The results indicate that even a single brief analogical comparison can confer insight. The results also reveal conditions that support analogical learning.

The “father of skyscrapers” and “father of modernist architecture” Louis Henry Sullivan (1856–1924) wrote that “[a]ll things in nature have a shape, … a form, an outward semblance, that tells us what they are, that distinguishes them from ourselves and from each other,” adding “Form follows from function.” But structure shapes function too.The biological world offers a myriad of examples where this is apparent. One such example, perhaps not the most intuitive, is the brain: a network with a complex (...) architecture made of billions of neurons connected by trillions of synapses that shape such functions as movement, perception, imagination, volition, emotion, reasoning, and so on. Olaf Sporns’s Discovering the Human Connectome is an enthusiastic and honest journey through the forms, structures, and network architecture that can ground our understanding of how brains work, and how they produce cognition and behavior.In his previous book, Networks of the Brain, Sporns documented the encounter .. (shrink)

Postmodernist thinkers have often claimed that there is something like a `modernist' model of theory and metatheory in the social sciences which is objectivistic, dogmatic, and generally over-ambitious, aiming to dominate the theoretical landscape like a modernist skyscraper. This paper suggests that there is little to support such a view, and that most sociologists and social anthropologists, and many other social scientists, have been much more cautious and tentative in their claims than postmodernists have claimed. The alleged distinctiveness of postmodern (...) social science is therefore itself open to question. The paper includes a discussion of reflection and reflexivity in realist philosophy of science and in the social theory of Habermas and Bourdieu. (shrink)

From the pencil to the puppet to the drone—the humanities and the social sciences continue to ride a wave of interest in material culture and the world of things. How should we understand the force and figure of that wave as it shapes different disciplines? Other Things explores this question by considering a wide assortment of objects—from beach glass to cell phones, sneakers to skyscrapers—that have fascinated a range of writers and artists, including Virginia Woolf, Man Ray, Spike Lee, (...) and Don DeLillo. The book ranges across the literary, visual, and plastic arts to depict the curious lives of things. Beginning with Achilles’s Shield, then tracking the object/thing distinction as it appears in the work of Martin Heidegger and Jacques Lacan, Bill Brown ultimately focuses on the thingness disclosed by specific literary and artistic works. Combining history and literature, criticism and theory, Other Things provides a new way of understanding the inanimate object world and the place of the human within it, encouraging us to think anew about what we mean by materiality itself. (shrink)

Although not accomplished as conceived, Lee House, Great Bridgewater Street, is a significant project in the history of the Manchester commercial textile warehouse. As one of the last examples to be designed for the city centre, it is innovative and deviates from the pattern that had evolved from the 1830s. This was due to two factors: the precedent of the American skyscraper, which had evolved since 1870, and, most influential, the involvement of two architects, Harry S. Fairhurst and J. Henry (...) Sellers, and their different fields of expression. (shrink)

Think of the sublime: images come to mind first. Images of mountains, oceans, deserts, and other wild natural sites. Images of pyramids, cathedrals, skyscrapers, and other colossal cultural artifacts. Most of these mental images are probably still and silent, very much like photos. They might also portray dynamic situations, like big waves breaking on a rocky shore, or high trees moved by a thunderous storm, or the wind howling across the ruins of an ancient temple. Yet these scenes are (...) likely to be imagined as sublime independently of their inner temporality, perhaps as animated still pictures like GIFs or “live” smartphone photos.But maybe something else comes to your mind. If you are a classical music lover, you... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hurricane Gloria LAWRENCE DUGAN A screaming northern gale flew past his wild words And slammed the sails, and pulled a wave toward heaven. —Aeneid, i.102–3 (Sarah Ruden, trans.) i. A phalanx of weather tools at the door, A shovel, an ice-pick, an umbrella, A new cane, leaning against each other, Plastic fabricated to resist storms, Reminds me of a storm I rode out years ago, The Nor’easter of 1985, (...) On the twenty-first floor of 5 Penn Center Across the street from where the Fox Theater Spread the bright wings of its marquee, folded Now forever, torn down, and then replaced With a glass-box not unlike the office I looked out of, watching the rain lashing Windows, tearing at the flags hung on poles On other buildings, solitary banners Left up as if to challenge the weather To do its worst, to refute the young storm Tearing northeast out of the Atlantic, Predicted only a few days before As a hurricane, that didn’t happen, But leaving the high-rise building nearly Deserted, with the ticker still running Across the wall; the market had opened Empty office or not, unoccupied Desks giving it that strange quietude Peculiar to such spaces, which the mind Expects to be filled, even while seeing Otherwise. arion 28.2 fall 2020 66 hurricane gloria I felt like a sailor for The only time in my life, stepping off The elevator at 21, and then Walking into the main hall and sensing The building swayed slighty, barely feeling It but knowing it distinctly, hearing It creak exactly as I had heard ships At sea in dozens of movies, and with The sound, the sway, the massive grid of pipes And beams giving and taking. jms Old timers hadn’t warned me about this Although some had ridden out several Storms as bad, real or metaphorical, Not even old Harris who remembered Moving down from Susquehanna county In ’29, to Wall Street and the Crash. ii. Future archaeologists of urban Storms will study pictures of umbrellas Taking flight, wrecked synthetic shapes blooming Against resistant hands, then abandoned, Stuffed into trash cans, twirling down alleys, Pastels, stripes or old-fashioned banker-black, The edge of the story, the windy street’s Last rebuke to those daring to stagger To lunch but caught in the nor’easterly Gale’s grey wall of wind and rain that rattled Doors and buckled windows. The building held Two dozen companies, and I still like To think one fronted for an anchorite, Some isolated individual Up on 24, alone at his desk In a skyscraper office for ten years Praying, sometimes looking down the cliff walls At the peregrine falcons sweeping home Lawrence Dugan 67 To their massive nest stuffed tight in the bronze Lap of a statue seated on City Hall, One of the allegories of Founders And Lenape chiefs placed high over Broad, The hawks diving downward athwart the storm Coming on in grey curtains wavering Over the city and the Delaware Valley. Across the river in Jersey The pines begin, in Camden the street dirt Is sand; halfway to the shore the forest Runs above the expressway, farms below, The pines flourishing in sandy barren Earth lacking nitrogen, incinerating Every dozen years, thousands of acres Blowing away in flames seen at the shore. After that rain those woods were safe for weeks. iii. Ten years and two jobs later I needed Census material and found it online On a rainy day in Center City In a high-rise office nearby, a halfDay ’s work done to my surprise in only Twenty minutes, then realizing as I Stood up from a computer that the view Was familiar. I was back on 21 In my old office; jms had moved But the grey sky cleared with a sweep of wind And the view north and south looked as before Wherever the market’s ticker-tape rolled now. The weather had surprised me again; The only full rainbow I ever saw, The ancient sign that spares the world from floods, A pure unblemished iridescent span, Appeared late in spring, in a sun shower.... (shrink)

Teyyar eschatology, as a doctrine of the ultimate destiny of mankind, is deeply rooted in the concept of the ultimate goal, which is regarded as a true result, though it emerges as a tool designed to fill some of the emptiness created by humanity in the course of natural science practice. Teillard felt that the deplorable state of modern mankind was the result of his neglect of eschatology, his inability to adapt to the needs of his activities, and his lack (...) of courage in further design. "A lighter skyscraper of hope is being constructed," G. Grespi notes. The belief that the Earth is exhausting its limited resources necessarily leads to the thought of the destruction of the Earth. (shrink)

_Desk Set_, a 1957 20th Century Fox studio comedy, made with the sponsorship of IBM, charts the relationship between a reference librarian, Bunny Watson, and Richard Sumner, the inventor of a computer which appears to threaten her job. The film displays a thriving philodendron within Bunny’s skyscraper office, illustrating her organic style of thinking, and implicitly inviting us to see the plant in opposition to the computer. The suggestion that the plant is in some sense excessive, claiming attention beyond the (...) norms of the ornamental background houseplant, opens questions about how we look at plants on film. We find here a reframing of figure and ground, which relates the philodendron to moments where plants become conspicuous in early film and in horror. _Desk Set_ reflects a vegetal landscape characterised by all the commonplace instrumentalising of plants in modernity, amongst which the philodendron emerges as an exception. The plant does not point outwards to a putative wilderness. Instead, our looking at it allows us to contemplate it as an individuated specimen, and to move from that act of looking to recognise its deep entanglement with the urban environment, and with human care. (shrink)

Opening Chicagoscapes places the reader amid the breathtaking grandeur and warm humanity of one of the world's great cities, a metropolis both lavish with its pleasures and as hard as weathered steel, a prairie-bound Oz that demands commitment from those seeking its truths. Larry Kanfer and native Chicagoan Alaina Kanfer have captured authentic moments that invite the viewer into pocket universes achieved in collaboration between an acclaimed photographic artist and the living world. From the deep blues of Lake Michigan to (...) imposing winter cityscapes, from awe-inspiring skyscrapers to corner hot dog joints, and from the lakefront chess obsessives to Maxwell Street's indefatigable vendors, Larry Kanfer brings the mesmerizing sensibility acclaimed in his collections Prairiescapes and On Firm Ground to illuminate the subtleties of mood and forces of nature that make Chicago a city unlike any other. (shrink)

The educationally emaciated, suffering from intellectual and spiritual bilumia, binge on facts and linear thinking. The imprimatur of clarity and the infatuation with quantification are accoutrements of this affliction, often characterized by apathy. Chaos is introduced as the wrecking ball for the hierarchical skyscrapers that overcrowd the educational skyline. The type of chaos proposed can be explained by the neutron bomb analogy. Chaos destroys all that is inessential but leaves standing the essential and promotes holistic rather than compartmentalized learning. (...) The authors further contend that one insight is better than a myriad of facts; in being vigilant of serendipity; that the value-aspect of facts is as important as the facts themselves. Such beliefs form a foundation for educational holism. Our goal is to popularize philosophy in the same way science has become popular without a mass understanding. Empiricism is criticized for creating the theoretical basis for fragmentation (forming the basis for an island ideology) by excising essence. Founded on inessential empirical ideology, efforts to teach multiculturalism merely exacerbate difference, promote alienation, and discourage tolerance. Within the framework of value hierarchies we favor, tolerance is not understood as open-armed acceptance of just anything, but the forbearance of an evil for the promise of greater good. Essence cannot be removed: even in the idiosyncratic we can find the essential. In the absence of chaotic methodology, critical thinking remains an apolitical, amoral, and atemporal process displaced from social and political reality. We propose a critical thinking that is not legalistic, but is action-oriented. The pipe dream for education is a political, moral, temporal, and decompartmentalized critical thinking that disseminates philosophy across the curriculum. Those who risk becoming pariahs and nomads are essential to the rejuvenation of the educational system. (shrink)

It sometimes seems to me that I have a certain gift of foresight as to whether the promise promised by our President will come true or not. For example, if the President says that he will move to a new apartment, I believe his words. If he says that he will take the skyscraper to the base in the Mariinsky Park to the base, I already know ahead of time: no, it will not. On the contrary, after some hype, this (...) house will still be completed and settled, and among the new residents there will be many employees of the Presidential Secretariat. If the guarantor says that no more corrupt officials will be able to hide from law enforcement agencies, I question these words. But the fact that in schools, at the request of the President from the new school year, will introduce an item called "Ethics of Faith", I believe unconditionally. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. (shrink)

“Waterman's profound respect for the northern lands burns on every page, and his photos and essays prove to us that there is still beauty in this world—beauty worth fighting for.”—Robert Redford North of the sixtieth parallel, the sun shines for less than six hours in the winter, and towering mountains are the only skyscrapers. Pristine waters serve caribou, moose, and bears in an unbroken landscape. At any given moment in this spectacular scenery, there’s a chance that Jonathan Waterman is (...) present, trekking across the land. A masterful adventurer, Waterman has spent decades exploring the farthest reaches of our beautiful spaces. The essays and photographs collected in Northern Exposures are a product of this passion for exploration and offer an unparalleled view into adventuring in the north and beyond. Picking up after In the Shadow of Denali, his first book of essays, Northern Exposures collects twenty-three stories from Waterman’s thirty-year career that show the evolution of the adventurer’s career and work, from ducking avalanches near the Gulf of Alaska, to searching for the most pristine tundra on the continent, and from writing haiku on Denali in the depth of winter to decrying oil development in the Arctic National Wildlife Refuge. Ninety-six spectacular photographs taken by Waterman during his expeditions lend a broader context and allow readers to fully understand his heartfelt argument for protecting these places. Whether active, aspiring, or just armchair adventurers, readers will be inspired by Waterman’s daring spirit. (shrink)

An encounter with a large object may induce feelings of fear, awe, attraction, and more. But it is not simply the physical dimensions of an object that account for our sense that something is "big." Big Culture is a study of large objects and images that works to identify the qualities and effects of bigness. In doing so, David Wittenberg offers a philosophical proposal for reconceptualizing the problem of magnitude. The book explores examples of bigness that are simultaneously familiar and (...) singular in the cultural landscape, such as skyscrapers, atomic bomb explosions, and cinematic special effects. From these examples, Wittenberg postulates a new aesthetics of magnitude that is better able to account for the special role that bigness plays in our everyday perception of objects and images. Big Culture argues that bigness is a more primal, a more absolute, and even a more violent or erotic encounter with the objective world than the scalar relativism that tends to characterize our lives. Ultimately, Wittenberg insists that bigness comes before scale, even before size itself. (shrink)

The paper follows Gottfried Semper's thesis that building – just like the textile – originates in practices of the knot. A comparison of the knot with dominant metaphors of the construction stone, the chain and the con tainer shows how knotting is inscribed in the fields of material, movement, perception and human relations. But the knot connects things with each other, instead of simply adding them; it is a connection by sympathy rather than by joints. That leads to a comparison (...) of tectonic and stereotomic aspects of building, especially of the wall. Is the wall constructed on the ground, like the skyscraper, or is it a fold in the ground itself, like the mountain? If one pursues the idea of the knot, one arrives at the latter conclusion. (shrink)

By now it is clear that the word postmodern has a settled into an insurmountable usage in the field of architecture and this in addition to its continuing currency for art critics and theorists, social analysts, and political and literary theorists, not to mention journalists and philosophers. Nevertheless no one less influential for the real or built presence of postmodernism than Charles Jencks could complain that with respect to architecture, critics apply the term as a kind of catchall, so that (...) postmodernism is used for "everything that was different from high modernism, and usually this meant skyscrapers with funny shapes, brash colors, and exposed technology."1. (shrink)

Most of us crave new experiences and sensations. Whether it's our attraction to that new burger place or the latest gadget, newness tugs at us. But what about those who can't seem to get enough? They jump out of planes, climb skyscrapers, and will eat anything … Prompting others to ask 'what's wrong' with them. These are high sensation-seekers and they crave intense experiences, despite physical, or social risk. They don't have a death wish, but seemingly a need for (...) an adrenaline rush, no matter what. Buzz! describes the world of the high sensation-seeking personality in a way that we can all understand. It explores the lifestyle, psychology, and neuroscience behind adrenaline junkies and daredevils. This tendency, or compulsion, has a role in our culture. But where is the line between healthy and unhealthy thrill-seeking? The minds of these adventurers are explained page by page. (shrink)

While the pedagogical benefits of experiential learning are well known, classroom technology is a more contentious topic. In my experience, philosophy instructors are hesitant to embrace technology in their pedagogy. A great deal of this trepidation is justified: when technology serves only to replicate existing methods without contributing to course objectives, it unnecessarily adds extra work for the instructor and can even be a distraction from learning. However, I believe, if applied appropriately, technology can be used to positively enhance the (...) philosophy classroom experience in ways that are not possible in traditional classroom settings – including new ways of experiential learning. To demonstrate this, I offer a case study of implementing virtual reality as a tool for experiential learning of philosophy. I show how having students “walk a plank” off a skyscraper in VR allowed me to exceed my course objectives for my Existentialism course in particularly effective ways that I could not have done without this technology. (shrink)

New York may be most easily recognized by its trademark skyscrapers and brick tenement buildings, but the truth is that the city is actually teeming with luxurious roof gardens and private courtyard oases. Creative gardeners and architects have risen to meet the unique challenges of the urban landscape, designing spaces that celebrate the city while providing a restful escape. New York City Gardens presents New York’s evolving tradition of garden culture through images and discussions of thirty of its most (...) outstanding gardens, from world-famous botanical gardens to richly re-cultivated public urban spaces, luxurious penthouse terraces, and innovative art gardens without soil or plants. Many of the gardens are set against vistas of the quintessential New York—Central Park, the Empire State Building, skyscrapers of Midtown, and the sensational skyline of Lower Manhattan. Other gardens reveal surprising and exotic intimate retreats from the bustle of the city. While most were designed by noted landscape architects, including Dan Kiley, Hideo Sasaki, Ken Smith, and Halsted Wells, many others were created over decades by talented homeowners themselves. As more and more city dwellers in New York and beyond look to cultivate their own kitchen and container gardens and individual outdoor sanctuaries, this book provides hundreds of inspiring images as well as historical background and insight into the practical and imaginative solutions of city garden designers. (shrink)

The North American environmental movement has historically sought to redress the depletion and degradation of natural resources that has been the legacy of the industrial revolution. Predominant in this approach has been the preservation of wilderness, conservation of species biodiversity and the restoration of natural ecosystems. While the results of such activity have often been commendable, several scholars have pointed out that the environmental movement has inherited an unfortunate bias against urban environments, and consequently, a blind spot to ways in (...) which densely populated built spaces can serve to enhance rather than degrade efforts to achieve sustainability. After exploring this concern we argue that environmental architecture can serve as a counter-balance to this bias, focused, as it is, on the ways in which the construction and organisation of built spaces for humans can help or hinder the pursuit of environmental priorities. But if environmental architecture is to take this role then it must be understood in a broader context, one which does not exclude other moral, political and aesthetic values in the production of human environments. We will highlight several examples of how environmental architecture has combined success and failure at taking a broader view of environmental questions, with a specific focus on one green skyscraper that may be good for the natural environment but not necessarily for the human environment of the city. (shrink)

What we know of Mohamed Atta has become paradigmatic for the new breed of Islamic neo-fundamentalist terrorists. Before coming to the United States to organize and prepare the attack on civilians in New York and Washington, Atta was a student of urban planning at the Technical University of Hamburg–Harburg, situated in a suburb of the notably liberal and tolerant German port city of Hamburg. It was there that the young Egyptian completed a Masters in Urban Planning with a thesis in (...) which he assails the corrupting influence of modern, Western architecture, particularly skyscrapers. It was also there, in a tiny.. (shrink)

"Liverpool is going through the most significant period of change in its recent history, and the evidence is clear to see in the evolving cityscape. In this book, photographer Alan McKernan documents this process in his characteristically dramatic style, capturing the clutter and upheaval of reconstruction, the confidence of the glittering new skyscrapers, and the stubborn persistence of an architectural past that refuses to be swept away by the tide of the modern. With illuminating commentary by architectural historian Matthew (...) Whitfield, these photographs mark a time of gathering strength, of deep breaths and diggers. Unfamiliar Journeys Continued is a compelling exploration of the contest between light and shade in a re-forming city."--BOOK JACKET. (shrink)

Any rational discipline has as its proper and primary task to present itself as an internally interconnected and coherent system. If it is important to human beings that it should be true, its practitioners cannot be content with premisses from which it follows as a hypothetical system, but must either show them as indubitable by their own nature or as grounded in fact. If they are grounded in fact then we must continually appeal to experimentally verified hypotheses which will further (...) anchor the science to our actual world. Mathematics is in the peculiar position of having no possible empirical verification of its theorems, but of being continually verified by application. Mathematics ‘works’ when applied to the building of bridges and skyscrapers, the knitting of pullovers and the designing of engines. It also appeals to rational beings as intellectually satisfying in itself. Metaphysics is like mathematics in presenting itself as intellectually satisfying to those willing to submit themselves to its discipline; it is unlike mathematics in that it has, in the ordinary sense of the word, no application. Nevertheless, Spinoza makes a determined attempt to exhibit metaphysics as satisfying on all counts. It is an internally coherent system, it justifies itself by its effect on its practitioners, and it could not be effective in this way if it were not at the same time true. (shrink)

Let us imagine that we decided to visit cities at different places in the world. During our journey we would probably consult often one or more of these books known as “travel guides,” which, in our case, describe one or more cities for the benefit of the traveler who knows nothing about them or has only a slight idea of what they are like.Presumably we would be told not infrequently that in the cities being described something is “reflected” - that (...) the city architecture of Paris reflects the immortality - obsessed self-glorification of French kings, emperors, or national presidents; that the baroque layout of Rome reflects the triumphant Catholicism of the counter- Reformation ; that the skyscrapers of Manhattan reflect the unbridled creativity of American civilization. (shrink)

Most people do not think to observe geology from the sidewalks of a major city, but all David B. Williams has to do is look at building stone in any urban center to find a range of rocks equal to any assembled by plate tectonics. In Stories in Stone, he takes you on explorations to find 3.5-billion-year-old rock that looks like swirled pink-and-black taffy, a gas station made of petrified wood, and a Florida fort that has withstood three hundred years (...) of attacks and hurricanes, despite being made of a stone that has the consistency of a granola bar. Williams also weaves in the cultural history of stone, explaining why a white fossil-rich limestone from Indiana became the only building stone used in all fifty states; how in 1825, the construction of the Bunker Hill Monument led to America’s first commercial railroad; and why when the same kind of marble used by Michelangelo clad a Chicago skyscraper it warped so much after nineteen years that all 44,000 panels of it had to be replaced. This love letter to building stone brings to life the geology you can see in the structures of every city. (shrink)

Introduction Paul Boshears The following excerpt from Paul Amitai's In Between States: Field notes and speculations on postwar landscapes (2012) confounds its reader. Presenting an alternate history of the State of Israel as a space station orbiting Earth, the excitement of possibilities crackles across the texts and images. Like Chris Marker's La Jeteé , the accompanying static images distort the viewer's temporality: are these archaeological items, images from a past, or a future? Why isn't this our future? In Between States (...) can also be seen as complementing Larissa Sansour's provocative science fiction works, Space Exodus (2009) which "documents" the Palestinian space program, and her Nation Estate (2012), in which Palestine is relocated into a skyscraper. Amitai's vision opens onto an intergalactic diaspora, wherein the refugees of World War II are given the stars as Western Europe continues to fight over terrestial colonies. —PFB Auditorium, Hoechst AG headquarters, Industriepark-Höchst, 2011. In 1941 an investigation by the US Justice Department exposed a marriage cartel between John D. Rockefeller’s Standard Oil (now ExxonMobil) and I.G. Farben. The two corporations had formed a joint operation in 1927 called Standard IG Farben. It was revealed that the two had shared patents in order to control prices and markets in their respective regions. Standard was accused of hiding patents from the US Navy and supplying fuel to German submarines, which lead to charges of criminal conspiracy. The Pentagon intervened, requesting that President Roosevelt stop the investigation in order to protect war production and oil supply. Roosevelt agreed, and the Senate committee investigating the matter, headed by Senator Harry Truman, was halted. Standard Oil paid a fine of $5000 and promised to stop supplying fuel to the enemies. Auditorium, Hoechst AG headquarters, Industriepark-Höchst, 2011. Furious at the decision to terminate the investigation of acts he considered treason, Truman initiated a new inquiry into Standard Oil’s war-time practices after succeeding Roosevelt as president in 1945. With the chief executives of I.G Farben simultaneously on trial at Nuremburg, Truman brokered a deal with the Allies that reduced or withdrew criminal charges leveled against both corporations in exchange for Standard Oil and I.G. Farben’s sponsorship of one of Truman’s most ambitious postwar projects—the relocation of the Jewish people. Detail, Sanofi-Aventis advertisement, 2011. The third critical player in this bold experiment was the nascent North Atlantic Space Agency. Formed by Allied forces using the seized assets and engineering expertise of Hitler’s hitherto classified space program (conquer Earth, then the stars), the North Atlantic Space Agency was a pre-NATO foray into interstellar nation building, with orbital occupation as the first point of order. By 1947, NASA was nearly ready to deploy the first manned space station. Standard Oil and I.G. Farben’s advanced fuel refinement capacities and deep, war-enriched financial resources allowed NASA to speed up their launch schedule significantly. Detail, Sanofi-Aventis advertisement, 2011. Diplomatic efforts to establish a Jewish homeland in Palestine were failing to gain traction, while post-colonial England held its ground on immigration restrictions and bands of Jews and Arabs battled over territory on the ground. More immediate was the issue of temporarily housing Holocaust survivors and refugees across scorched Europe. Leaders of the continental nations demonstrated, at best, reluctance to accommodate the Jews, who in turn were, at the least, resistant to returning to the same bloody cocktail from which they had fled. Truman used the impasse to advance a plan for NASA’s space station to be put to use as a temporary Jewish outpost, an orbital displaced persons camp, to be operated by the US Army. Detail, Infaserv Höchst advertisement, 2011. Final preparations advanced rapidly. Viewing the orbital displaced persons (ODP) camp as a solution to their immigration problem both at home and abroad, England came on board as a willing partner. Spaceship Exodus was positioned for takeoff on German farmland 20 kilometers southwest of Frankfurt. On December 30, 1947, one month after the UN General Assembly voted down the separation plan for Palestine, Exodus rocketed into the atmosphere hauling the first module of barracks designed to house 1,500 refugees. Transport vehicles arrived shortly thereafter, loaded down with leftover wartime military rations and 3,000 Jews of Russian and Polish origin. Detail, Infaserv Höchst advertisement, 2011. "The camp is the space that is opened when the state of exception begins to become the rule."—Giorgio Agamben, Homo Sacer , trans. Daniel Heller-Roazen, (Stanford: Stanford University Press, 1995), 96. Detail, Infaserv Höchst advertisement, 2011. The ODP camp proved to be a longer-term solution than originally envisioned. Additional installations were positioned to form swollen clusters of interlocking units – sleeping quarters, schools, clinics, canteens. The UN was brought in to monitor the camp following two chaotic years of US Army control in which food shortages, pandemic diseases, and rampant black market trade had brought the camp to near total collapse. No less bureaucratic or ineffectual, the UN relief agency at least had prior experience facilitating contexts of a similar magnitude and could potentially predict outcomes. Detail, Infaserv Höchst advertisement, 2011. What had been unexpected was the degree to which the camp would evolve into its own self-regulated, hive-like ecosystem where previously accepted rules of conduct were not applicable. The ODP camp was an exceptional space, a riverboat casino, an offshore research lab of social experimentation and entrepreneurial innovation. No longer Earth-bound, touching soil knotted by prescripts of Talmudic law, the camp residents were able to rationalize loopholes and detonate barriers standing in the way of absolute production. The Jewish archipelago was renamed Israel after the ancient homeland. If the temple couldn’t be rebuilt in the motherland, a post-national rhizome would sprout up in its stead. Eyes everywhere, beyond all borders. More information on the project at the author's site. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

"My energies for near a lifetime have been used almost entirely to win such prominence as I could in outdoor photography."--H. H. Bennett Henry Hamilton Bennett became a celebrated photographer in the half-century following the American Civil War. Bennett is admired for his superb depictions of dramatic landscapes of the Dells of the Wisconsin River and also for his many technical innovations in photography, including a stop-action shutter and a revolving solar printing house that is now housed at the Smithsonian (...) Institution. With his instantaneous shutter, he gained recognition for his striking images of moving subjects, such as lumber raftsmen shooting the river rapids and his son Ashley leaping in midair from a bluff to the craggy pillar of Stand Rock. Less well-known are Bennett's splendid urban photographs of nineteenth-century Chicago, Milwaukee, and St. Paul. This engaging biography of H. H. Bennett tells his life story, illustrated throughout with his remarkable photographs, some of them rarely viewed before. It draws on the photographer's own letters and journals, along with other family documents, to portray the sweep of his career and personal life. An important figure in the history of photography, he also contributed to the growth of American tourism: his nationally distributed stereoscopic views of Dells rock formations and his portraits of local Ho-Chunk Indians played a significant role in creating the Wisconsin Dells as the popular tourist destination it is today. Despite personal challenges--a crippling Civil War injury, the death of his first wife, and continual financial worries--Bennett produced an extensive portfolio that captures the midwestern culture of his time. He accepted commissions in the 1890s to document Chicago's modern skyscrapers, grand residences of Milwaukee's entrepreneurs and sailing ships in its harbor, enormous scenic panoramas along the routes of Wisconsin railroads, and sparkling ice palaces lit by fireworks at the St. Paul Winter Carnival. Finalist, Midwest Regional Interest, Midwest Book Awards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Watsuji on Nature: Japanese Philosophy in the Wake of Heidegger by David W. JohnsonLaÿna DrozDavid W. Johnson, Watsuji on Nature: Japanese Philosophy in the Wake of Heidegger Evanston, IL: Northwestern University Press, 2019.Recently, Watsuji Tetsurō’s work has drawn wide interest, in particular around his concept of fūdo and his approach to ethics. The word fūdo (風土) is composed of the Chinese character for the wind, and the character (...) for the soil. It attempts to grasp the relation between humans and their environment while recognizing the essential subjectivity of the relation itself. David W. Johnson’s book is thus timely. In Watsuji on Nature, Johnson focuses on what he refers to as “Watsuji’s philosophy of nature” (3). Thanks to his interpretation of Watsuji’s idea of fūdo, Johnson aims at “reenchanting nature” and at giving us “the possibility of finding ourselves at home in the world once again” (49). This quest already sets the stage for Johnson’s argument that seems to be addressed to an English-speaking audience and to attempt to reconcile a particular Western conception of nature with Watsuji’s concept of fūdo. Within these parameters, his reasoning flows clearly and Johnson guides us elegantly through his interpretation of Watsuji across the eight chapters of his book.In the first chapter, Johnson traces the history of the concept of fūdo, and the difficulties it presents for translation. He briefly discusses ongoing conflicts of interpretation, namely the tension between nature and culture, and the issue of natural determinism. Johnson rejects the “equation of fūdo with everything that environs a human being” (31), for fear that it might reduce its explanatory power and “render this notion almost useless” (32). Instead, Johnson proposes to follow two criteria to clarify what the philosophical concept of fūdo entails. The first criterion “comes from nature itself, which is a kind of given that presents certain regions as articulated wholes around which boundaries can be drawn” (34), which Johnson claims is found in Watsuji’s “taxonomy of basic types of fūdo.” With the second criterion, Johnson aims at distinguishing “nature from artifice,” and draws the line as follows: “A newly created species of crop and a reservoir count as constituents of a fūdo; the installation of telephone poles and the erection [End Page 129] of skyscrapers do not, even though they affect the space and scenery of a landscape” (37). Johnson insists that the plant and the river are a “sheerly given self-unfolding of things.” This particular Heideggerian interpretation of Watsuji’s fūdo is the cornerstone of Johnson’s reasoning and of his description of Watsuji’s philosophy of nature.Arguably, more philological references would have been beneficial to defend such a controversial interpretation of the concept of fūdo. For example, Watsuji writes in the first line of the first chapter of Fūdo that fūdo is a “general term including for a particular region, climate, weather, geology, soil quality, geographical features, landscape (keikan 景観) etc.”1 Later, in Rinrigaku (倫理学), he defines and discusses the landscape as “an internal scene in the human existence; it is not an environment which surrounds from the outside human beings.”2 Furthermore, he insists that far from being a given, “the environment or natural region” is changed by human activities3 throughout history—which contrasts with Johnson’s first criterion that characterizes fūdo in terms of natural regions that appear as “a given” from nature. Watsuji also specifies that in this “environment or nature,” we have “cultivated countryside, planted mountain areas, towns lined with water streams, and villages scattered across the plains,” which are nothing but the “shape” of the human groups. Thus, Johnson’s second criterion that draws a line between human-made artifice and nature seems to conflict with Watsuji’s recurrent emphasis on the dynamicity and inseparability of human activities and their landscape, which includes villages, and thus would probably include telephone poles and skyscrapers. Moreover, Johnson’s distinction between artificial and natural does not evade central problems that have been lengthily discussed in the interdisciplinary field of environmental philosophy, such as the difficulties of defining... (shrink)

Entire libraries can be filled with volumes exploring the cultures, politics and geographies of the largely horizontal mobilities and transportation infrastructures that are intrinsic to urban modernity (highways, railways, subways, public transit and so on). And yet the recent ‘mobilities turn’ has almost completely neglected the cultural geographies and politics of vertical transportation within and between the buildings of vertically-structured cityscapes. Attempting to rectify this neglect, this article seeks, first, to bring elevator travel centrally into discussions about the cultural politics (...) of urban space and, second, to connect elevator urbanism to the even more neglected worlds of elevator-based descent in ultra-deep mining. The article addresses, in turn: the historical emergence of elevator urbanism; the cultural significance of the elevator as spectacle; the global ‘race’ in elevator speed; shifts towards the ‘splintering’ of elevator experiences; experiments with new mobility systems which blend elevators and automobiles; problems of vertical abandonment; and, finally, the neglected vertical politics of elevator-based ‘ultra-deep’ mining. (shrink)