Podcast appearances and mentions of peter ekman

In the Sunday Book Review, Tom Fox considers books that would interest the compliance professional, the business executive, or anyone who might be curious. These could be books about business, compliance, history, leadership, current events, or anything else that might interest Tom. Today, Tom Fox looks at four 2024/25 books on information systems. Knowledge Management by Irma Becerra-Fernandez, Rajiv Sabherwal, and Richard Kumi Management and Information Technology after Digital Transformation, edited by Peter Ekman, Peter Dahlin, and Christina Keller Managing Information Technology 2nd Edition by Francisco Castillo and Korina Monoso Business Information Systems by Paul Bocij Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn about Timing the Future Metropolis here (and use 09POD to save 30%): https://www.cornellpress.cornell.edu/book/9781501778391/timing-the-future-metropolis/#bookTabs=1 Transcript here: https://otter.ai/u/s2IqBx8SSmwfPTUZHjSWmc5eHBA?utm_source=copy_url&tab=chat&view=transcript In this episode, we speak with Peter Ekman, author of the new book Timing the Future Metropolis: Foresight, Knowledge, and Doubt in America's Postwar Urbanism. Peter Ekman teaches the history and theory of landscape and urbanism in the School of Architecture at the University of Southern California. He is a postdoctoral fellow at USC's Center on Science, Technology, and Public Life, and at the Berggruen Institute. We spoke to Peter about why within the field of urban planning, the Joint Center for Urban Studies, founded in 1959, took a preeminent role; how the Joint Center's ideas on the urban future dramatically evolved over a relatively short period of time; and,how the history of planning runs in parallel with the history of time itself.

Peter Ekman is today's guest on the Cyber Security Matters podcast, hosted by Dominic Vogel and Christian Redshaw. Peter is the Co-Founder and CEO of Level Company, a managed marketplace of advisors who support their partners' unique challenges in understanding, approaching, and selling to new and existing customers. The team at Level Company wants to create a fair playing field for everyone to win in business on the actual merits of their offerings, whether an incumbent, or a new entrant to a market. In this episode, we will discuss: -What are relational-based sales -How Level Company helps organizations that have great products or services get their foot into the marketplace  -Why there is a benefit in embracing relational-based sales within your organization  -What Level Company's vetting process looks like  Want to connect with Peter? Here are a couple of ways that you can do exactly that: -LinkedIn: @PeterEkman -Website: www.levelcompany.com

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“Wilderness,” “nature,” and their “preservation” are concepts basic to how the National Park Service organizes our relationship to American land. They are also contested concepts, geographer and environmental historian Laura Alice Watt shows in The Paradox of Preservation: Wilderness and Working Landscapes at Point Reyes National Seashore (University of California Press, 2016), and when used as administrative categories they can encourage visions of a static, unpeopled, unworked landscape that both obscures the historical record and concretely alters the very ecologies the NPS has set out to preserve. Watt precisely narrates a rich case study of the sweeping lands and waters surrounding Point Reyes, an hour north of San Francisco in Marin County, where complex, more-than-aesthetic histories of cattle ranching and oyster cultivation have run up against increasingly myopic regimes of stewardship, complicating local politics and economies in the process. Watt’s fine-grained account positions Point Reyes within a larger frame of American land management, and it engages debates central to environmental history, political ecology, cultural geography, landscape studies, and other interlocking fields. The Paradox of Preservation is a memorable, principled intervention, one that enjoins us to reconsider how the past, present, and future of landscapes connect, or ought to. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Wilderness,” “nature,” and their “preservation” are concepts basic to how the National Park Service organizes our relationship to American land. They are also contested concepts, geographer and environmental historian Laura Alice Watt shows in The Paradox of Preservation: Wilderness and Working Landscapes at Point Reyes National Seashore (University of California Press, 2016), and when used as administrative categories they can encourage visions of a static, unpeopled, unworked landscape that both obscures the historical record and concretely alters the very ecologies the NPS has set out to preserve. Watt precisely narrates a rich case study of the sweeping lands and waters surrounding Point Reyes, an hour north of San Francisco in Marin County, where complex, more-than-aesthetic histories of cattle ranching and oyster cultivation have run up against increasingly myopic regimes of stewardship, complicating local politics and economies in the process. Watt’s fine-grained account positions Point Reyes within a larger frame of American land management, and it engages debates central to environmental history, political ecology, cultural geography, landscape studies, and other interlocking fields. The Paradox of Preservation is a memorable, principled intervention, one that enjoins us to reconsider how the past, present, and future of landscapes connect, or ought to. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Wilderness,” “nature,” and their “preservation” are concepts basic to how the National Park Service organizes our relationship to American land. They are also contested concepts, geographer and environmental historian Laura Alice Watt shows in The Paradox of Preservation: Wilderness and Working Landscapes at Point Reyes National Seashore (University of California Press, 2016), and when used as administrative categories they can encourage visions of a static, unpeopled, unworked landscape that both obscures the historical record and concretely alters the very ecologies the NPS has set out to preserve. Watt precisely narrates a rich case study of the sweeping lands and waters surrounding Point Reyes, an hour north of San Francisco in Marin County, where complex, more-than-aesthetic histories of cattle ranching and oyster cultivation have run up against increasingly myopic regimes of stewardship, complicating local politics and economies in the process. Watt’s fine-grained account positions Point Reyes within a larger frame of American land management, and it engages debates central to environmental history, political ecology, cultural geography, landscape studies, and other interlocking fields. The Paradox of Preservation is a memorable, principled intervention, one that enjoins us to reconsider how the past, present, and future of landscapes connect, or ought to. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Wilderness,” “nature,” and their “preservation” are concepts basic to how the National Park Service organizes our relationship to American land. They are also contested concepts, geographer and environmental historian Laura Alice Watt shows in The Paradox of Preservation: Wilderness and Working Landscapes at Point Reyes National Seashore (University of California Press, 2016), and when used as administrative categories they can encourage visions of a static, unpeopled, unworked landscape that both obscures the historical record and concretely alters the very ecologies the NPS has set out to preserve. Watt precisely narrates a rich case study of the sweeping lands and waters surrounding Point Reyes, an hour north of San Francisco in Marin County, where complex, more-than-aesthetic histories of cattle ranching and oyster cultivation have run up against increasingly myopic regimes of stewardship, complicating local politics and economies in the process. Watt’s fine-grained account positions Point Reyes within a larger frame of American land management, and it engages debates central to environmental history, political ecology, cultural geography, landscape studies, and other interlocking fields. The Paradox of Preservation is a memorable, principled intervention, one that enjoins us to reconsider how the past, present, and future of landscapes connect, or ought to. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Wilderness,” “nature,” and their “preservation” are concepts basic to how the National Park Service organizes our relationship to American land. They are also contested concepts, geographer and environmental historian Laura Alice Watt shows in The Paradox of Preservation: Wilderness and Working Landscapes at Point Reyes National Seashore (University of California Press, 2016), and when used as administrative categories they can encourage visions of a static, unpeopled, unworked landscape that both obscures the historical record and concretely alters the very ecologies the NPS has set out to preserve. Watt precisely narrates a rich case study of the sweeping lands and waters surrounding Point Reyes, an hour north of San Francisco in Marin County, where complex, more-than-aesthetic histories of cattle ranching and oyster cultivation have run up against increasingly myopic regimes of stewardship, complicating local politics and economies in the process. Watt’s fine-grained account positions Point Reyes within a larger frame of American land management, and it engages debates central to environmental history, political ecology, cultural geography, landscape studies, and other interlocking fields. The Paradox of Preservation is a memorable, principled intervention, one that enjoins us to reconsider how the past, present, and future of landscapes connect, or ought to. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Wilderness,” “nature,” and their “preservation” are concepts basic to how the National Park Service organizes our relationship to American land. They are also contested concepts, geographer and environmental historian Laura Alice Watt shows in The Paradox of Preservation: Wilderness and Working Landscapes at Point Reyes National Seashore (University of California Press, 2016), and when used as administrative categories they can encourage visions of a static, unpeopled, unworked landscape that both obscures the historical record and concretely alters the very ecologies the NPS has set out to preserve. Watt precisely narrates a rich case study of the sweeping lands and waters surrounding Point Reyes, an hour north of San Francisco in Marin County, where complex, more-than-aesthetic histories of cattle ranching and oyster cultivation have run up against increasingly myopic regimes of stewardship, complicating local politics and economies in the process. Watt’s fine-grained account positions Point Reyes within a larger frame of American land management, and it engages debates central to environmental history, political ecology, cultural geography, landscape studies, and other interlocking fields. The Paradox of Preservation is a memorable, principled intervention, one that enjoins us to reconsider how the past, present, and future of landscapes connect, or ought to. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers' interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What kind of time do we endure on our daily commutes? What kind of space do we occupy? What new sorts of urbanites do we thereby become? In Transit Life: How Commuting Is Transforming Our Cities (MIT Press, 2018), geographer David Bissell contends that to commute is to enter a highly eventful domain, an atmosphere in which new “capsular collectives” form and reform, opening onto new political and ethical possibilities for being in public. With Sydney, Australia, as its setting, Transit Life develops a non-representational geography on the move, attentive to the blockages and flows that give infrastructural life its contours. Dwelling on embodiment, temporality, sound and other senses, and a broadly Deleuzian vision of micropolitics, Bissell makes the case that the commute should be understood as anything but an empty interval of time, passively submitted to and upheld only through the force of habit. Rather, he contends, out of its repetition emerges a richly differentiated palette of urban encounters, subjectivities, and agencies. If urban life is increasingly spent in transit, Bissell suggests, geographers’ interventions should begin with an interest in its rhythms. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We know quite a bit about the physical signatures of urban “modernity” foisted upon Paris by Baron Haussmann in the late nineteenth century — the broad boulevards, networked infrastructures, connected apartment houses, and assorted monuments — but little scholarship has seized on its precursors in the half-century prior. In Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris (University of Pittsburgh Press, 2018), Sun-Young Park turns to another modernity, recovering a daunting array of Romantic and especially post-Napoleonic interventions — less spectacular but arguably more complex — on mobile Parisian bodies and the everyday spaces that host them. Park considers military gymnasia, schools, barracks, leisure gardens, and other spaces purpose-built to inculcate vigor in both individuated physical bodies and, their proponents hoped amid specters of national decline, in the French body politic. Each of these spaces, Park shows, a “threshold” between fully private and fully public realms, helped install — albeit imperfectly — its own “ideal” of the sanitized and gendered human subject. Ideals of the Body is a detailed, visually rich, theoretically motivated study in urban and architectural history, one that just might realign how we periodize and make sense of urban modernity writ large. Peter Ekman is Lecturer in Human Geography at the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Curated Decay: Heritage Beyond Saving (University of Minnesota Press, 2017), geographer Caitlin DeSilvey offers a set of alternatives to those who would assign a misplaced solidity to historic buildings and landscapes in order then to “preserve” or “conserve” them. DeSilvey reimagines processes of material decay, which always intermingle natural and cultural landscapes, as more animate, eventful, productive, and worthy of affirmation than prevailing practice would have it. Her narrative wends through Montana, Vermont, Germany’s Ruhr Valley, and numerous English sites, each of them rendered at close range, in lithe, sometimes experimental prose. Through these encounters, and with a remarkably light touch, she thinks in a key recognizable alongside, but never subservient to, many strands of recent geographic thought on the force or vitality of nonhuman matter. Curated Decay is an ethical intervention, too, posing difficult questions about vulnerability, rights, care, repair, maintenance, and how we might better respond to environments as they weather and fragment. Just this week, happily, the book was just awarded the Historic Preservation Book Prize by the Center for Historic Preservation at the University of Mary Washington. It will satisfy a wide and curious readership across diverse domains of theory and practice, and because the lines of questioning it opens are not easily closed down, it will stoke debate for some time to come. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Curated Decay: Heritage Beyond Saving (University of Minnesota Press, 2017), geographer Caitlin DeSilvey offers a set of alternatives to those who would assign a misplaced solidity to historic buildings and landscapes in order then to “preserve” or “conserve” them. DeSilvey reimagines processes of material decay, which always intermingle natural and cultural landscapes, as more animate, eventful, productive, and worthy of affirmation than prevailing practice would have it. Her narrative wends through Montana, Vermont, Germany’s Ruhr Valley, and numerous English sites, each of them rendered at close range, in lithe, sometimes experimental prose. Through these encounters, and with a remarkably light touch, she thinks in a key recognizable alongside, but never subservient to, many strands of recent geographic thought on the force or vitality of nonhuman matter. Curated Decay is an ethical intervention, too, posing difficult questions about vulnerability, rights, care, repair, maintenance, and how we might better respond to environments as they weather and fragment. Just this week, happily, the book was just awarded the Historic Preservation Book Prize by the Center for Historic Preservation at the University of Mary Washington. It will satisfy a wide and curious readership across diverse domains of theory and practice, and because the lines of questioning it opens are not easily closed down, it will stoke debate for some time to come. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Curated Decay: Heritage Beyond Saving (University of Minnesota Press, 2017), geographer Caitlin DeSilvey offers a set of alternatives to those who would assign a misplaced solidity to historic buildings and landscapes in order then to “preserve” or “conserve” them. DeSilvey reimagines processes of material decay, which always intermingle natural and cultural landscapes, as more animate, eventful, productive, and worthy of affirmation than prevailing practice would have it. Her narrative wends through Montana, Vermont, Germany’s Ruhr Valley, and numerous English sites, each of them rendered at close range, in lithe, sometimes experimental prose. Through these encounters, and with a remarkably light touch, she thinks in a key recognizable alongside, but never subservient to, many strands of recent geographic thought on the force or vitality of nonhuman matter. Curated Decay is an ethical intervention, too, posing difficult questions about vulnerability, rights, care, repair, maintenance, and how we might better respond to environments as they weather and fragment. Just this week, happily, the book was just awarded the Historic Preservation Book Prize by the Center for Historic Preservation at the University of Mary Washington. It will satisfy a wide and curious readership across diverse domains of theory and practice, and because the lines of questioning it opens are not easily closed down, it will stoke debate for some time to come. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Curated Decay: Heritage Beyond Saving (University of Minnesota Press, 2017), geographer Caitlin DeSilvey offers a set of alternatives to those who would assign a misplaced solidity to historic buildings and landscapes in order then to “preserve” or “conserve” them. DeSilvey reimagines processes of material decay, which always intermingle natural and cultural landscapes, as more animate, eventful, productive, and worthy of affirmation than prevailing practice would have it. Her narrative wends through Montana, Vermont, Germany’s Ruhr Valley, and numerous English sites, each of them rendered at close range, in lithe, sometimes experimental prose. Through these encounters, and with a remarkably light touch, she thinks in a key recognizable alongside, but never subservient to, many strands of recent geographic thought on the force or vitality of nonhuman matter. Curated Decay is an ethical intervention, too, posing difficult questions about vulnerability, rights, care, repair, maintenance, and how we might better respond to environments as they weather and fragment. Just this week, happily, the book was just awarded the Historic Preservation Book Prize by the Center for Historic Preservation at the University of Mary Washington. It will satisfy a wide and curious readership across diverse domains of theory and practice, and because the lines of questioning it opens are not easily closed down, it will stoke debate for some time to come. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country's great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson's Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city's very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country's great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson's Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city's very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country’s great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson’s Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city’s very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country’s great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson’s Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city’s very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country’s great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson’s Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city’s very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country’s great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson’s Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city’s very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to say that a city can “die”? As Brian Tochterman shows in this compelling intellectual and cultural history, motifs of imminent death—of a “Necropolis” haunting the country’s great “Cosmopolis”—have been a persistent feature of discourse on the probable fate of New York City since the Second World War. The Dying City: Postwar New York and the Ideology of Fear (University of North Carolina Press, 2017) traces this “spatial narrative” across many domains of thought and cultural production: fiction and essays, planning theory and practice, humanistic and social-scientific criticism in the public square, and film in the age of Charles Bronson’s Death Wish. Throughout, Tochterman shows that New York intellectuals of diverse political inflections have made specters of urban “ungovernability” central to how America and the world look at New York—whether to compel remedies, to render the city’s very chaos alluring, or, especially, to argue for the futility of intervention. Tochterman sheds new light on such figures as E. B. White, Mickey Spillane, Robert Moses, Jane Jacobs, Daniel Bell, Irving Howe, Lionel Abel, Michael Harrington, Daniel Patrick Moynihan, Nathan Glazer, and John Lindsay, among other compass points in the urbanism and intellectual life of postwar New York. Between “Fun City” and “Fear City,” a new image of the metropolitan past, present, and future comes into focus. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco's Ghirardelli Square, Seattle's Freeway Park, downtown Portland's open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin's built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices