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This architectural historian examines the aesthetics that emerged in the 1920s and 1930s with the advent of airplanes and sky- eee ee en eee Sy be Se ee Lee es Edited by a sociologist and criminologist, this collection of eleven chapters is said to offer “insightful, poignant, and critical ob- servations about the way that New Yorkers and the City as a whole responded to and coped with September 11, 2001’s after- math.” The chapters “clarify that recovery from 9/11 has been a long and braided pro- cess that unfolded in different ways in dif- ferent spheres.” The chapters “reveal the importance of collaborative efforts, tenac- ity over time, and the value of community

Figure 2 This architectural historian examines the aesthetics that emerged in the 1920s and 1930s with the advent of airplanes and sky- eee ee en eee Sy be Se ee Lee es Edited by a sociologist and criminologist, this collection of eleven chapters is said to offer “insightful, poignant, and critical ob- servations about the way that New Yorkers and the City as a whole responded to and coped with September 11, 2001’s after- math.” The chapters “clarify that recovery from 9/11 has been a long and braided pro- cess that unfolded in different ways in dif- ferent spheres.” The chapters “reveal the importance of collaborative efforts, tenac- ity over time, and the value of community

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This EAP issue begins with a “book- note” on philosopher Dan Zahavi’s Phe- nomenology: The Basics, an introduction to phenomenological principles and meth- ods. A second “booknote” focuses on Paul Krafel’s recent open-access digital book, Roaming Upward, which continues this naturalist’s perspicacious efforts to reverse environmental and human entropy. Last, to mark a thirtieth year of publica- tion, EAP editor David Seamon discusses Below: Sue Michael’s World’s End High- way (2019, acrylic on canvas, 46 x 91 cm) for her recent South Australia painting ex- hibit, “Settled Areas.” See her introduc- tion to this exhibit and additional paintings (and one photograph), pp. 29-35.
This EAP issue begins with a “book- note” on philosopher Dan Zahavi’s Phe- nomenology: The Basics, an introduction to phenomenological principles and meth- ods. A second “booknote” focuses on Paul Krafel’s recent open-access digital book, Roaming Upward, which continues this naturalist’s perspicacious efforts to reverse environmental and human entropy. Last, to mark a thirtieth year of publica- tion, EAP editor David Seamon discusses Below: Sue Michael’s World’s End High- way (2019, acrylic on canvas, 46 x 91 cm) for her recent South Australia painting ex- hibit, “Settled Areas.” See her introduc- tion to this exhibit and additional paintings (and one photograph), pp. 29-35.
Thus, beginning with a set of given or- gans or organisms A, B, C ... (that organi- cally are “finished products”), we reconsti- tute them in the form of aA', aB', aC’ ..., where a is what is common and where A’, B', C' ... comprise all about them that is different. This reconstitution can be repre- sented as follows [3]: We come in this way to “unity and mul- tiplicity” by the elimination of difference. The result is a unity that is abstract and re- ductive because it abridges multiplicity to unity and diversity to identity by finding the respect in which t he different “entities” (organs or organisms) don’t differ at all but are the same. This is t he static unity of self- sameness, generated by a Manner of move- ment—“unity in multiplicity”—that is the unity of the dead end . repeat:
Thus, beginning with a set of given or- gans or organisms A, B, C ... (that organi- cally are “finished products”), we reconsti- tute them in the form of aA', aB', aC’ ..., where a is what is common and where A’, B', C' ... comprise all about them that is different. This reconstitution can be repre- sented as follows [3]: We come in this way to “unity and mul- tiplicity” by the elimination of difference. The result is a unity that is abstract and re- ductive because it abridges multiplicity to unity and diversity to identity by finding the respect in which t he different “entities” (organs or organisms) don’t differ at all but are the same. This is t he static unity of self- sameness, generated by a Manner of move- ment—“unity in multiplicity”—that is the unity of the dead end . repeat:
During our post-diary discussion, Janet’s photos helped her to think about connec- tions in her life that would usually be con- sidered too mundane for discussion. In her diary, Janet, age 52, included this Spar pet- rol station (photo, below) as one of the While the objects in a place can be ob- served, just as the people can be, the view- point of the observer, especially if an out- sider, may well miss what is there for lo- cals—for example, the street corner where men gather to talk and smoke. Like people, places can have multiple identities simul- taneously. People whose lives are thus en- tangled incorporate aspects of the place, the history of the place, into their everyday
During our post-diary discussion, Janet’s photos helped her to think about connec- tions in her life that would usually be con- sidered too mundane for discussion. In her diary, Janet, age 52, included this Spar pet- rol station (photo, below) as one of the While the objects in a place can be ob- served, just as the people can be, the view- point of the observer, especially if an out- sider, may well miss what is there for lo- cals—for example, the street corner where men gather to talk and smoke. Like people, places can have multiple identities simul- taneously. People whose lives are thus en- tangled incorporate aspects of the place, the history of the place, into their everyday
friendly, it’s got a sense of community, we’re very lucky.
friendly, it’s got a sense of community, we’re very lucky.
people in the same way as the garage men- tioned by Janet. Although McDonald’s is built to standard patterns (here the “13b”’), inside it becomes a part of this particular local place.
people in the same way as the garage men- tioned by Janet. Although McDonald’s is built to standard patterns (here the “13b”’), inside it becomes a part of this particular local place.
Sue Michael, Barking Brown Dog Chases Car Every Morning I lam, Marree. 2018, acrylic on canvas, 60 x 156 cm
Sue Michael, Barking Brown Dog Chases Car Every Morning I lam, Marree. 2018, acrylic on canvas, 60 x 156 cm
Sue Michael, Pinky Kitchen, 2019, acrylic on canvas, 46 x 92 cm
Sue Michael, Pinky Kitchen, 2019, acrylic on canvas, 46 x 92 cm
Sue Michael, Pt. Germein Outbuildings, 2018, acrylic on canvas, 46 x 92 cm
Sue Michael, Pt. Germein Outbuildings, 2018, acrylic on canvas, 46 x 92 cm
Sue Michael, Yongala Dressage Ring, 2018, acrylic on canvas, 24 x 92 cm
Sue Michael, Yongala Dressage Ring, 2018, acrylic on canvas, 24 x 92 cm
Sue Michael, Eudunda Ornamental Garden, 2019, acrylic on canvas, 60 x 120 cm
Sue Michael, Eudunda Ornamental Garden, 2019, acrylic on canvas, 60 x 120 cm
Sue Michael, Site for Nightly Evening Bonfires, Marree, 2019, acrylic on canvas, 60 x 120 cm
Sue Michael, Site for Nightly Evening Bonfires, Marree, 2019, acrylic on canvas, 60 x 120 cm
Sue Michael, Beach Shack, Lucky Bay, 2018, acrylic on canvas, 120 x 150 cm
Sue Michael, Beach Shack, Lucky Bay, 2018, acrylic on canvas, 120 x 150 cm
Sue Michael, General Store, Robertstown, 2019, acrylic on canvas, 46 x 91 cm
Sue Michael, General Store, Robertstown, 2019, acrylic on canvas, 46 x 91 cm
Sue Michael, Marree Night Sky, 2018, digital photograph
Sue Michael, Marree Night Sky, 2018, digital photograph
Sue Michael, Sunday Drive, 2019, acrylic on canvas, 61 x 152 cm
Sue Michael, Sunday Drive, 2019, acrylic on canvas, 61 x 152 cm
Sue Michael, Coffin Bay, 2019, acrylic on canvas, 61 x 152 cm
Sue Michael, Coffin Bay, 2019, acrylic on canvas, 61 x 152 cm
Related topics:
GeographyEnvironmental EducationEnvironmental PsychologySpace and PlacePhenomenological PsychologyPhenomenologyHumanistic GeographyPhenomenology of the bodyArchitecture and PhenomenologyPhenomenology of Space and Place
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