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Pioneer Square - - Bog - University of Washington Press - Plusbog.dk

Pioneer Square - - Bog - University of Washington Press - Plusbog.dk

This fascinating history weaves together first-person accounts, photographs, and varied cultural perspectives to shed light on the birthplace of modern Seattle. It reveals that Pioneer Square has always been a barometer of Seattle’s health and an incubator for trends that characterize the city today.In 1852, a group of settlers who had spent the winter on Alki Beach relocated to the east side of Elliott Bay and chose the only flat area along the shoreline for the first settlement in downtown Seattle, Pioneer Square . Called Djicjila''letc, "little crossing over place," by friendly Duwamish Indians, it was near the heart of their ancient homeland. By 1853, Henry Yesler’s steam-powered sawmill was processing and exporting timber from the densely forested hillsides. Other businesses sprang up near the mill, making Seattle the region''s major commercial center and a magnet for workers and entrepreneurs. The assimilation of people of diverse ethnic, cultural, and economic backgrounds continues today, as one of Pioneer Square ’s defining characteristics.After the Great Fire of 1889, Seattle rallied to build a modern city of brick and stone. Pioneer Square rose quickly from the ashes with elegant brick buildings that still give the area an architecturally harmonious feeling. The district formed the heart of the city upon the arrival of the Great Northern Railroad and during the Klondike Gold Rush. As the population exploded, city engineers scrambled to regrade steep hills and fill in tide flats to make them suitable for development.In the early twentieth century, overcrowded Pioneer Square burst at its seams: the downtown business district moved north, industries surged south onto reclaimed tide flats, and Chinatown and Japantown spread east into what is now the International District. As Pioneer Square deteriorated, a local minister dubbed it Skid Road, applying the name of the mill logslide (now Yesler Way) to people on the skids. The term later entered the national vernacular as a synonym for urban slum.From the late 1950s the neighborhood became a battleground between advocates of urban renewal and those who envisioned a restored district of handsome buildings, outdoor cafes, and an easy mingling of artists, merchants, and the down-and-out. Architects, gallery owners, activists, and many others recognized that Pioneer Square was not only a place of beautiful buildings, but a place of spirit as well. In 1971, the City of Seattle created the thirty-block Pioneer Square Historic District, the first designated landmark district in the city. In the ensuing decades the neighborhood, which never lost its Skid Road identity, became a vibrant center for the arts and a hub of regional transit, urban living, and professional sports.

DKK 250.00
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Pioneering Death - Peter Boag - Bog - University of Washington Press - Plusbog.dk

Pioneering Death - Peter Boag - Bog - University of Washington Press - Plusbog.dk

Repairing the American Metropolis - Douglas Kelbaugh - Bog - University of Washington Press - Plusbog.dk

Exploring Washington’s Past - Carmela Alexander - Bog - University of Washington Press - Plusbog.dk

Affect and Artificial Intelligence - Elizabeth A. Wilson - Bog - University of Washington Press - Plusbog.dk

Answering Chief Seattle - Albert Furtwangler - Bog - University of Washington Press - Plusbog.dk

Answering Chief Seattle - Albert Furtwangler - Bog - University of Washington Press - Plusbog.dk

Full Light and Perfect Shadow - David F. Martin - Bog - University of Washington Press - Plusbog.dk

Loving Nature, Fearing the State - Brian Allen Drake - Bog - University of Washington Press - Plusbog.dk

Loving Nature, Fearing the State - Brian Allen Drake - Bog - University of Washington Press - Plusbog.dk

A "conservative environmental tradition" in America may sound like a contradiction in terms, but as Brian Allen Drake shows in Loving Nature, Fearing the State, right-leaning politicians and activists have shaped American environmental consciousness since the environmental movement's beginnings. In this wide-ranging history, Drake explores the tensions inherent in balancing an ideology dedicated to limiting the power of government with a commitment to protecting treasured landscapes and ecological health. Drake argues that "antistatist" beliefs--an individualist ethos and a mistrust of government--have colored the American passion for wilderness but also complicated environmental protection efforts. While most of the successes of the environmental movement have been enacted through the federal government, conservative and libertarian critiques of big-government environmentalism have increasingly resisted the idea that strengthening state power is the only way to protect the environment. Loving Nature, Fearing the State traces the influence of conservative environmental thought through the stories of important actors in postwar environmental movements. The book follows small-government pioneer Barry Goldwater as he tries to establish federally protected wilderness lands in the Arizona desert and shows how Goldwater's intellectual and ideological struggles with this effort provide a framework for understanding the dilemmas of an antistatist environmentalism. It links antigovernment activism with environmental public health concerns by analyzing opposition to government fluoridation campaigns and investigates environmentalism from a libertarian economic perspective through the work of free-market environmentalists. Drake also sees in the work of Edward Abbey an argument that reverence for nature can form the basis for resistance to state power. Each chapter highlights debates and tensions that are important to understanding environmental history and the challenges that face environmental protection efforts today.

DKK 246.00
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Seeing Seattle - Roger Sale - Bog - University of Washington Press - Plusbog.dk

Seeing Seattle - Roger Sale - Bog - University of Washington Press - Plusbog.dk

From the time that Roger Sale’s interpretive history Seattle Past to Present was published in 1976 he has often served as an unofficial guide for friends and visitors to Seattle, and has also been asked by those who run professional tours for advice on how to view Seattle with fresh eyes. In Seeking Seattle he invites the reader to join him in walking tours of the city in a collaborative process of looking, asking, and forming opinions and judgments.The book starts near where Seattle itself started and works out to the city limits in layers. In the first walk, the Pioneer Square area reveals through its buildings--many of them handsomely rehabilitated--how the city reestablished itself after the great fire of 1889. we are asked to observe and evaluate how new buildings and new uses have been combined with old ones, and how architects, builders, and planners have served this historical area. The same points are considered for the downtown business district, Pike Place Market, and other areas near the historic core of the city. We face the breathtaking downtown skyline form view points on Seattle’s many hills, from points across the bay at Duwamish Head, and from Seward Park, which ash Seattle’s largest stand of old-growth forest.What makes Seattle distinctively Seattle? Sale muses over this question as he walks through the older residential sections of Queen Anne Hill and Capitol Hill, with their mansions and near mansions. he traces the routes along Lake Washington Boulevard and the influence of the Olmsted brothers in shaping the social as well as the visual landscape of the city. He tours upscale neighborhoods with lake and sound views as well as working-class neighborhoods that owe their history and early growth to nearby mills and streetcar transportation. He visits the Chinatown/International District and the University of Washington, and learns to identify trees in Washington Park Arboretum and to recognize those trees elsewhere. He find the “enchanted house” where Mary McCarthy lived as a girl and the garden in which Theodore Roethke sought solitude among trees that “came closer with a denser shade.”Sale and photographer Mary Randlett have worked together to integrate photographs closely with text and promote a view of Seattle in a context of new and old, landscapes and skyscrapers, neighborhood streets and remarkable vistas. Estimated times for each walk (or drive, in outlying areas) and bus route information are provided.

DKK 193.00
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Doris Chase Artist in Motion - Patricia Failing - Bog - University of Washington Press - Plusbog.dk

Doris Chase Artist in Motion - Patricia Failing - Bog - University of Washington Press - Plusbog.dk

Doris Chase has achieved international stature as a pioneer in the field of video art since she moved from Seattle to New York City in 1972. An artist of remarkable and continuous creativity, Chase now divides her time between her video headquarters in New York and a Seattle studio where she works on new projects in painting and sculpture. Beginning as an innovative painter and sculptor in Seattle in the 1950s, Chase created sculpture that was meant to be touched and manipulated by the viewer. Chase then developed large-scale kinetic sculptures in collaboration with choreographers, and her art was set in motion by dancers. In New York, her majors contribution to the evolution of artists’ video has been her work in videodance. On videotape, dancers and sculpture evolve into luminous abstract forms which represent some of the most sophisticated employments of video technology by an artist of the 1970s. In the 1980s, Chase began working in the nascent genre of video theater. In these productions, she uses the imtimacy of the video screen to achieve a new synthesis of visual and dramatic art. Her video theatre compositions present multicultural and social commentary, utilizing scripts by writers such as Lee Breuer, Thulani Davis, and Jessica Hagedorn in the “Concepts” series. Collaborating with actresses Geralding Page, Ann Jackson, Roberta Wallach, Joan Plowright, and Luise Riner in the “By Herself” series, she focuses on the viewpoints and experiences of older women. Today, coming full circle, Doris Chase in Seattle is exploring a renewed interest in painting and sculpture as well as in the modernist aesthetic she never really ceased pursuing, even during her most adventuresome multimedia years. This profile by art historian Patricia Failing is both a celebration of a distinguished artists and a historical summary of the development of video as an art form from the early seventies to the present day. The making of Chase’s widely acclaimed filmdance, Circles II (1972), is discussed within the context of her own artists evolution and also as exemplary of an artistic milieu shaped by McLuhanism and a growing interest in multimedia experimentation. An entire chapter focuses on the institutional and theoretical working environment for video artists in the 1970s, outlining the circumstances under which New York became the best-endowed center for the production of artists’ video. Attention is also paid to the specific manner in which Chase learned to employ video technology, the mechanisms of exhibition and distribution of independent video art, and the theoretical and practical issues raised in collaborations among artists from different art forms. Centering upon first-hand commentary by Chase and her colleagues, Doris Chase, Artist in Motion is an accessible introduction to a pioneering artist and her milieu. The Foreword by noted critic and teacher of video art Ann-Sargent Wooster adds a valuable dimension to the volume. Doris Chase, Artist in Motion is illustrated with representative examples of Chase’s work and includes selected lists of her videotapes and films as well as her works in public collections. It will appeal to students of video art as well as to those intersted in women artists and feminist performance.

DKK 386.00
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