Thanks to architecture

work for

white culture.

Despite the representations

from as we've learned from

we're almost

certain rather then

no reason to

doubt it's worth revisiting
a lot of work here.

Look at that and also.

You're doing well.

Today.

One.

Thank you Ron and

I'd like to thank the faculty involved
with the drilling studies focus.

When I first received the invitation
from Ron I was uncertain because I

didn't exactly know what might
be meant by growing studies

and the first thing I did was to go
to the web page and I was pleasantly

surprised by the description I saw
there I read the description and

I felt that it was in consonance
with what my work is about.

Coextensive with building a world
we develop a way of thinking and

being and
certainly when we hear those words.

We think of the phenomenological
philosopher Martin Heidecker.

This question of what
the relationship is a is among

these words these Geron this do.

ELLING thinking being.

What I want to argue this
morning is that phenomenology is

perhaps the prime thoughts.

Conceptually and
the prime method research wise to explore

the relationships the interconnections
among these possibilities.

In my own work.

I have called this environmental an
architectural phenomenology or sometimes

phenomenological ecology and that's where
I want to put the emphasis this morning.

What is an ecological perspective.

Phenomenologically that's
really where I'm headed.

And secondly what does that mean for
this rather difficult.

Appearing field of dwelling studies.

I don't want to say too much
about phenomenology this morning.

I know many of you have been studying
phenomenology I gave a talk.

I'm doing phenomenology
yesterday afternoon.

I believe deeply that
phenomenology should be a word in

the lexicon of every American.

Today it is an option almost to the time
you you say the word phenomenology and

people get either frightened.

Or their eyes glaze over.

And I think that it's that
it shouldn't be that.

You know phenomenology it in its simplest

expression it's kindly seeing
allowing the other to be.

Usually when I'm asked to give a thumbnail
definition of phenomenology this

is the one I give the careful description
and interpretation of human experience.

The emphasis is on for mamma and I for.

Naaman on is a thing or experience as
a person or a group can experience.

That thing or experience this lady
looking out on this mountain like

she's having some kind of an experience
probably we might get She's having

an up if any you know she's thinking
about that she's seeing the beauty and

she's taking in the wonder of this scene.

Maybe not.

She could be pondering how she's
going to murder her husband.

But probably the way she's dressed
something about her stance.

We sense that there's something of
a heightened encounter some kind

of a static experience with that landscape
going on now that's the experience.

It's not the phenomenon
the phenomenon here is multiple.

For example the phenomenon might be
gender differences in the way that human

beings experience the landscape there
might be a man standing next to her and

I'm the phenomenologist standing
behind them and I want them to give me

a description in words and
pictures of what they're experiencing.

Or the phenomenon might be
the experience of this environment's

mountainous landscapes and
I'm asking a group of people to

visit some mountainous landscapes and
give accounts there

this is a point I was make when I'm
trying to get students to understand how

to proceed phenomenological you have to
be very careful about the phenomena that

you're interested in and
make sure you you you know what it is

because it's very easy to get muddled and
and this becomes very important.

Now what I want to do is to
look at this question of what

dwelling is wholeness might be
drawing on a phenomenal Ajah.

Rendition of ecological.

As you probably know the key focus
of an ecological perspective is.

Interconnections and
relationships the idea that somehow

the whole is larger than the parts I love

this statement from Don was true
the environmental historian he says

special qualities emerge out of
interactions and collectivities and

this is really one of the miracles
of human life in the life world.

That individual pieces can
somehow be together and

yet something more is present and

of course one way to describe that
something more quote could be dwelling.

My key question what do
interconnections relationships and

environmental holds of ecology become
in a phenomenological perspective

and I've called this phenomenological
ecology studying how well

these various parts and
processes come together.

I do feel that it's very important in this
kind of approach to somehow hold on to

the division between natural and
human nature and human nature.

I think we get too much attention today
to the differences between culture and

nature and I would argue in the kind
of phenomenology I'm talking

about that there are many commonalities.

So I want to up focus on one phenomenon
of nature color and I want to focus on.

On human made phenomenon.

By largely urban places I
mean robust neighborhoods

where there's a considerable
amount of street life.

And what I call environmental serendipity

that that is people in
CO presence meeting.

Perhaps exchanging themselves
in various ways and

one of my heroes here is
the architectural theorist bill here and

his theory of space and

tax if you're in the architecture program
here you know you have a very strong.

Focus on this kind of research.

And I'll be thinking more
about it momentarily.

In terms of color.

I want to talk about Johann Wolfgang but
I didn't get to his color theory.

Good to his work has become very important
for me I've edited a book on his work.

It's a very early phenomenology
of the natural world and for

me it says much about how we
cultivate a live environmental

ethic the tick you really involving
a sense of care reverence

respect responsibility for
the natural world.

The one habit your body's in place.

Pele.

I became interested in from
a phenomenology at Clark University and

was dramatic riches it's in the early
one nine hundred seventy S.

when I was doing my doctorate
work there in human geography.

Quick at a very strong program between
the two largest graduate programs which

were psychology and geography.

And the emphasis was on what has

come to be called Environment
behavior research or.

Be research.

Most of the work being done in
the one nine hundred seventy S.

was positivist it was quantitative
comparable analytical and

I felt uncomfortable with that
perspective and luckily there was a young

geographer there named and daughter Moore
who was versed in continental traditions

including phenomenological research
on environmental pop acts.

And I was lucky enough to
be able to work with her.

These are some of the themes
I am interested in

because I am in the Department
of Architecture and

certainly it becomes important to see if
some of these more conceptual issues can

point toward practice policy and
Design in other words.

At quark my dissertation focused
on what I call a phenomenology

of every day environmental experience and
this work was eventually published as

a book called it your overview of
the life or hope that I was interested in

people's everyday firsthand
involvements with the places

spaces situations of their daily lives.

Looking back on it.

I think I was rather naive and
silly actually to take on this terribly

nebulous phenomenon but
the fates seem to favor me and

it worked out fairly well
what I did was garnered

evidence from what I called
the environmental experience groups.

I contacted people who might be interested
in this and we would meet weekly we met

weekly for about seventeen weeks
focusing on particular themes and

topics so these are some of the topics
that we used in these groups which today

I guess would be called focus groups and
of the.

Actually I ended up with about
fifteen hundred observations and

descriptions from people who are who
participated in the groups and

eventually bees settled out in terms
of three major themes or structures

movement rested encounter moment
looked at the significance of a bitch.

Well routine particularly in
people's day at least a lot daily

of people's daily lives.

Whereas rest looked into
the issue of centers

the importance of at home this
in people the everyday lives.

And then encounter explored the modes in

which we make attentive contact with the
world as we go about it and ideally lives.

What I want to focus in on today
is the section on movement

because a major theme that came out of
the groups was it's a bit you will nature.

The fact that so much of our every
day lived actions just happen.

They really require very
little they unfold.

So to speak.

And if we go to the French
phenomenologist more

east more look on to the hallmark
of his book phenomenology or

perception is this bodily
awareness which is tacit and

largely unselfconscious
what he calls body subject.

The inherent capacity of the body to
direct movements and Teligent only and

thus work as a subject but
a subject which speaks through action and

immediate relationship bodily
with the world at hand.

This is a passage from a low potty.

I want to move along.

So I'm not.

Going to read it to you.

It's on pages one thirty eight to thirty
nine and phenomenology of perception

if you'd like to read it and I can also
give you a copy of it after if you'd like.

What was interesting in the environmental
experience groups is the point that

the body subject extends
itself through time and

space and makes daily life smooth.

And there were two kinds of choreographies
as I call them that came out

of this the body routine.

This is very obvious at one level.

The fact that we each of us
has a set of routines and

they just automatically unfold
driving a car doing home repair

whatever but
the amazing thing about this is that

once we have them once we've
learned them through the body.

They simply happen.

Time space retain a set of more or

less habitual bodily behaviors extending
through a considerable portion of time and

again we can all readily pick
these up in our experience.

In terms of environment
behavior research what I found

particularly exciting about the role
of body subject was the idea

that many individual routines
could come together in time and

space in a supportive physical
environment to generate.

A place robustness what I call
placed ballet in the book and

interaction of body in time space routines
rooted in space that becomes a place.

These are some of the characteristics of
place by life particularly familiarity and

sort of the ability by the word so see
ability I mean informal It simply happens.

Nobody plans it.

Nobody lays it out
beforehand it just happens.

Through the regular meetings
were the unexpected meetings

a kind of environmental serendipity
as I called it at the beginning.

Eventually I became
a member of the departments

of architecture first at the University
of Oklahoma and then at Kansas State and

I realized that I needed to think more

carefully about how the human made world.

The built environment the designed
environment could play a role

in place ballet and either sustaining or

inhibiting bodies so
the body subject actions and structures.

Now there's a large body of research and
design which gets into this and

I think one of the most important
bodies of work is the space

in tax theory work I don't know how
many of you are familiar with this it is

largely positivist analytic in
its nature so at the start.

You might say well what is he interested
in this is a phenomenologist you know it's

a kind of reductive
portrait of the world and

that's true but what I admire about
Bill here is he has a knack for

finding analytic structures which I think
I'll rise out of the original wife world

and I admire that remarkably because I
do think that phenomenological work and

analytical work empirical
work can partner together.

What we have here is asking is how
does a physical spatial environment

contribute to lively urban places or for

that matter buildings which have
a sense of sort of see ability.

Like you know he's interested
in spatial configuration and

by this he means
particularly the way that.

Pathways are laid out and he's arguing
that different pathway structures

lead to different situations in terms
of whether people encounter each other

whether people are present in
space in a cold presence way.

He's particularly interested
in might be said to be

permeability the relative connectivity or

the relative degree of
accessibility within a particular

environment which is it least partly
established by the pathway structure.

So if you look at these two site maps.

Clearly the situation me right.

The red circles.

This is a much more permeable district
than the situation on the left because

there are many more potential routes from

a between the two circles than
between the two triangles.

So because there are more
roads the potential may be

that there's more potential for
CO presence and counters.

Now that may not seem obvious at first and
I'll try to say a little more about that

when we are develops a wide range
of concepts and measures for

understanding the way that
spatial configuration works.

Particularly important is the idea
of axial space defining a space

in terms of its one dimensional quality
typically by simply drawing a long

line as far as you can through a street
before the wind hits some physical thing.

Typically a building.

This for example is a village in
southern France the village of.

Scene and
above is the site map of the village and

below that site map converted
into an axial map and

on the left a photograph of one of
the most lively streets in the village

next hill here says that we can
actually determine the degree

of connected connectivity the degree of
permeability of a particular pathway.

This is what he calls measure of
integration indication of interation now

an integrated pathway is a pathway
which is embedded in relation

to the other pathways so
potentially that pathway has many

other pathways leading into it and because
it does the probability that you're

going to have a lot of little human bodies
moving along that pathway is quite high.

Whereas a segregated
pathway is the opposite.

It's a pathway.

Well the dead end street
would be the best example.

In other words on that dead
end street the only people

typically feeding into it are going to
be the people who live on that street.

Perhaps they might work on that
street though that would be unusual.

So but it.

So if we look at this very simple pathway

conception here obviously pathway
one is the most integrated

of the pathways because all of the others
the day and so on are later to it.

Whereas obviously pathway to which is
a dead end is going to be a segregated.

Pathway here and

his research colleagues have also
developed quantitative measures for

actually identifying the particular
amount of integration for

a particular pathway and here in this map.

We have the streets of highest
integration marked by solid lines and

the streets of least integration
marked by hatched lines and

what's interesting here is that
roughly very very roughly.

We have a kind of flattened wheel
it's like a bicycle wheel that's

been in an accident and notice the rim and

the spokes of the wheel are pretty much
the solid lines and then in between them.

You have the hatched lines now what this
indicates and I find this fascinating as

a phenomenologist is that in
traditional pathway structures.

The most lively streets which would be
the solid lines were immediately next to

quiet streets segregated streets streets
which had had much less foot traffic.

So in a traditional situation you had
movement in Rast dwelling in journey

together in space and place and
of course in our twentieth and

twenty first century development we very
often lose that particularly in our low

density auto dependent
American suburban situation.

Your calls.

This arrangement with deformed wheel and
he points out that most

of the shops businesses and most used
open spaces are located along the most

integrated streets and
in between those folks are the more

segregated quiet pathways which
mark out residential areas.

So again you have activity and
quiet movement and rest whelming and

journey very close to each other and
one design question that arises

is might we recreate
this today consciously.

Now I'm not going to go into this in
detail because I want to move along.

He talks about how the traditional
city works and how this is London but

how it's a network of
smaller deformed wheels which

integrate together into a larger pathway
structure which is also integrated and

allows for movement throughout the city
and between and among neighborhoods.

He's highly critical of American
ways of developing today.

And he's very keen on not recreating
the permeable small block

mixed use neighborhoods and
this is a project I like very much.

It's not officially sponsored
by Bill Hall your and

his group it's much more
a New Urbanist problem project but

I do like it because the designers
are taking a defunct shopping center

surrounded by seas of asphalt parking and

over time they hope to reshape it into

this small block mixed use easily walkable

permeable neighborhood with
pretty good timing ability and

a very clever distribution of
primary uses as we call them that is

functions to which people have to go like
workplaces and residential so it least

we can envision that there's probably
going to be a lot of foot traffic a lot

of CO presence a lot of environmental
serendipity in this situation.

You know I want to move on to the other
phenomenon the a phenomenology of color

which is much more related to the natural
world and here I want to highlight good

to this way of science which

asks that the student have enough.

Will and wish and respect for
the phenomenon that he or

she is studying so
that the student is willing to give it all

and looking and trying to see and
understand the phenomenon.

So we're talking about direct experience
full contact coupled with a prolonged

attentive effort to look and
to see where it does work

pretty dates Edman has
circles phenomenological

founding by almost a century but
it can be called the proto

phenomenology and it can be called
an early phenomenology of nature.

I want to watch one hand on
the artist theory of color because it

probably of all gear to his work in
nature best illustrates the approach

this book was written
in eight hundred ten.

That was not actually written because good
to have been reading Newton's theoretical

work on color and get to felt
that it was somehow lacking and

he wondered if he might
look at color carefully and

see what kinds of generalizations
he might develop.

I want to focus on get
to his use of the PRISM.

And if we were a smaller group and if we
had time I would hand out prisms two or

love you and
we would start looking through them and

seeing what we see this is
a wonderful way to introduce students

to phenomenology because you've got
to from the you've got a phenomenon.

You know the appearance of color in
the prism and when we think of it.

We think of Rainbows which really.

Correct but
we know that there's color there somehow.

But we haven't really probably looked
through a prism since we were kids.

So we've got a phenomenon there and
you know we can't change it.

We keep looking at it it's going to be
what it is so it's a wonderful place to

begin Culp of aiding
the phenomenological approach

these are the kinds of questions that
get to what ask us to keep in mind and

I just want to highlight a couple of them
what is the same what wrongs together.

What remains apart.

How was this coming to be is this itself.

Can I read this in itself.

How does this belong together with itself.

These are the kinds of accurate
descriptions that an individual and

group would come up with if they looked
through the prism spent quite a bit of

time sharing observations
comparing to see if everybody

agrees in what one person says I do and

I don't want to read through these Let

me just take the second one colors however
do not appear along all edges rather they

appear only along edges more or
less parallel to the axis of the PRISM.

Moves or the colors arrange themselves
into different groups you have the darker

colors of blue violet and you have
the lighter colors of yellow orange and

red curiously Green much
less often appears and

then you have a new color appearing
sometimes the magenta color which is

a bright pink or peach blossom color.

These would be incorrect
descriptions colors

only appear where there is light there
is a halo of color around all objects.

This happens when you start
this exercise people conjure up

what they're seeing they
manufacture they embellish and

this is a dilemma with any
phenomenological work how do you know that

you're seeing the right amount that
you're not seeing too much or too little.

And then care to try is to focus
the prism experiments further by

saying OK now let's structure
what we're seeing and

he has the students look at a series
of cards through the prism.

So for example the right about
black card here we try to

put our attention looking through the
prism at that black white horizontal edge.

Interestingly we find if the image
is displaced downward by the prism.

We have the blue indigo edge
if we turn the card around

have the black above the white
the the edge changes

to the lighter colors of yellow orange and
red or

in these cards some fascinating
things happen as you move

the cards away card be
the color green appears

whereas in the card see the black
on white this bright pink magenta

appears allowing the parts to belong.

There just as once we've
begun to have a facility

of familiarity with how the pill but
the colors appear through the prism.

The next thing we have to do is what he
calls exact some sort of a magination and

this is a very interesting
aspect of his method

in other words what we do
is we close our eyes and

we now know picture ourselves taking
a prism holding that card with the.

Black about the white looking
at the black white edge.

And seeing how the lighter
color edge appears

the yellows the oranges the Reds appear
where we turn the cart around and

we have a white above the black and
we see the indigo blue edge appearing.

This is very interesting because
in doing this you're holding on to

the world the perception
the world of nature and yet

you're reconstructing it in your
imagination but you're having to

reconstruct it accurately you have to
hold on to what you've already seen.

So you have this interesting way
of healing or drawing together.

Seeing and
thinking perceiving and cognizing

and Boy tough who is probably
the premier Girty in science expert

today he says the effect of giving
thinking more the quality perception and

sensory observation more
the quality of thinking.

So we hold these two together and

as you probably have come to
see in the academic ground so

often what we think is
not what the world is

all commonly get to is interesting in

interested in what he calls the deep
down structure of the phenomenon.

And he argues that for color the earth
phenomenon is the tension between darkness

and white he does not believe his Newton
claimed that color somehow arises out

of colorless like he believes that some
major mistake in Newtonian color theory

rather he talks about color as
the deeds and sufferings of light.

And he says it's very
important to try to find

the earth phenomenon in the everyday
world and in the everyday

world he finds the earth phenomenon
particularly in the sun and the sky.

He talks about the atmosphere
is a turgid or

a semi truck semi transparent medium and

he argues that when you have a semi
transparent medium like a prism or

like me air when you have a semi
transparent medium in front of darkness

semi-transparent medium softens the
darkness and leads to the bluer colors.

Whereas when you have that same
semi-transparent medium for

a lightness like the sun for
example you have the lighter colors and

this helps explain why the setting sun for
example is red.

Whereas the sun at noon is almost white
a little bit yellow but mostly white.

And one of the easiest places to see this
is Mountains receding in the distance and

you can see all variations on this.

These are for
photos I called off of the web.

But notice how you do get this
progression from up on indigo violet

almost black in the foreground toward
the bluish PNAS in the background and

it can get to would argue that this
has to do with the atmosphere.

And the more atmosphere between
me the observer and the surface.

The more of the blue because the more
the semi-transparent medium is mediating.

Gerta is developing a science
which is qualitative

think this is a very important point.

He's also saying that there is in an.

Parent pattern there is an inherent
structure within the world

the perception of a relationship is a real
factor in the phenomenon instead of being

only a mental abstraction added on to
what is experienced with the senses

and I say this in this passage
dwelling with the phenomenon and

I want to read this because it
does get into the dwelling theme.

Whereas conventional analytical science
emphasizes the knowledge of primary

qualities features of quantity like number
size and position that can be measured and

thereby transformed into a mathematical
model geared to sought a science

of qualities a method whereby color
becomes visible as intelligible

within itself in other words allowing
the thing to be what it is without

some external explanation explanatory
agency like angle of refraction or

wavelength that lies outside color
as color appears as itself and

I have to say so much of what we do
in academics today is not allowing

the thing to be you know it's our
fanciful conjuring about the thing

and I really admired what good is trying
to do here to to facilitate a method

whereby in a sense we come to dwell within
the phenomenon as I say it in the last

sentence at the end here now to finish up.

I'd like to read from the last two

sections of this paper just so
I say what I want to say accurately.

I now want to return to the original
question of what interconnections

relationships and
holds become phenomenologically in.

Style of phenomenology I argue for here.

The quest is right parts all
of a piece in other words

a mutual coming to presence of parts and
whole through a sustained

effort to look and result in moments
of insight in which one sees.

This style of phenomenology
is arduous in practice and

uncertain in results but

TOF identifies the central dilemma
as the hazard of Americans.

On the one hand a part is only a part if
it contributes to the whole to which it

belongs on the other hand
the whole can only emerge if it

allows the parts to appear
as better Talk explains

the whole depends on the parts
to be able to come forth and

the parts depend on the coming forth
of the whole to be significant.

Instead of superficial the recognition
of a part is possible only through

the coming to presence
of the whole route is

the foundational stuff that grounds and
allows for this coming to presence for

our boy talked it is a situation in which
all the parts have their proper place and

can be together in a way that is real and
not an arbitrary.

In short there is a genuine
belonging that both sustains and

reflects a whole all part and parcel.

In both my phenomenology of lively urban
places and in gear to this phenomenology

of color there is an effort to locate and
describe necessary relationships and

interconnections that both contribute
to and are shaped by a Belong Together

in which the parts are integral and
have their place the integral parts

of place ballet are individual
habitual bodies and see synchrony

with a supportive spatial configuration
that generates animated streets and play.

He says We integral parts of good just

color theory are the tension
between darkness and light and

the colors resulting from light
overcoming darkness and vice versa.

Obviously these two phenomena and

all different aspects of the life world
bodily routine in place by the way

exist largely in the natural attitude
outside of self conscious awareness.

While discoveries about by getting in
science involve a patient deliberate

attention whereby taken for granted
aspects of the world emerge reflexively

I would phrase this difference in terms
of to contrast ing modes of daily life.

What I have called out where the triad of
a bit you ality and the triad of openness.

The triad of of which reality the first
is the typical ordinary ness and

humdrum of everyday life which much of the
time involves unquestioned repetition and

routine that many people on last on mice
forced are often unwilling to change.

Run through the means by
which to introduce useful

shifts in the triad of
a that you're already

is through thoughtful design of the
physical environment is demonstrated for

example by here space in text work
which provides ways whereby spatial

configuration might be used to begin
to generate animated urban places.

In contrast to the triad of a bitch.

Well it is the triad of openness those
moments in everyday life when one is

suddenly alert to the world in
a more sensitive intense way and

one experiences a heightened
encounter with the world.

Get to his way of science points
to one potential venue for

moving people into the triad of
openness by practicing a way of looking

at the world in an empathetic
participatory way.

Care to believes that what is taken for
granted.

In the Sun sea can reveal new patterns
in which parts that were before.

I'm related now belong in
a non-contingent togetherness finally

belling and

phenomenological ecology finally.

How might the kind of phenomenological
ecology I point toward here

relate to developing studies.

And also for Martin Heidegger
argues that dwelling sustains and

invokes a mindful for
millionaire ready and

a sense of looking after the things
living beings places and situations but

both sustain and arise from one's
world such watch such watch for

attention and regard as what
Heidegger calls appropriation.

That is realizing all things have
value simply because they exist and

understanding that this realisation
implies a responsibility to care for and

to protect what exists so that this
value is not squandered or destroyed.

Phenomenological geographer Edward Ralph
writes that appropriation lies in that

moment of insight that reveals beings for
themselves the moment in which we

know that this is well
speaks of an environmental

humility that is a way of seeing and
understanding that is responsive

to the best qualities of the other and
that might foster a compassion and

gentle care taking for
people places and the things of nature.

Ralph's call is for
what he calls guardianship for

taking care of things merely because
they exist for attending and

protecting them in this there is
neither mastery nor subservience but

there is responsibility and

commitment such responsibility
such responsible and committed.

Bald Mint is the crux of dwelling and
I hope my presentation

has suggested how of phenomenological
ecology might provide one pathway.

What guiding and
strengthening people's wish and will

to better understand the value and protect
the worlds in which they find themselves.

Rob.

Writes the African British novelist
Doris Lessing is the delicate but

total acknowledgment of what is.

And her idea crystallize is the heart of
phenomenological efforts as I've argued

for them here but the Monday little things
of the world can How's a miraculous

holiness that one can encounter understand
and come to care for more deeply.

I believe the greatest contribution that
phenomenology can offer is to provide

a systematic means for
discerning this miraculous wholeness and

in the process better sustaining and
strengthening our dwelling.

In both its ordinary and
extraordinary expressions and moments.

Thank you.

Question.

We've got let's see how
did I do it all good.

So leaven fifty one.

Yes.

Well I I agree with that in part and
certainly the picture of the city.

I'm portraying here you could well argue
is a kind of romanticized ideal that's not

really true.

I think the answer to this question
is going to the life for all right.

I would imagine.

And you know the there are if we call them
by we'll call them place ballets that

are so intense that yes they are
uncomfortable they are stressed provoking

and then you have neighborhoods you
know which barely have any street life.

What I would be interested in doing
as a phenomenologist is looking at

say several neighborhoods with
different amounts of co-president

encounter human bodies moving along and

recording the ambience.

The way that people respond to those
situations talking with the shopkeepers

For example when asking you know how do
you deal with all the hubbub is it too

much but I guess this is
a perfect example of how we

decide that the phenomenon is one way
rather than out there you know and and

you're sort of giving me anti-urban
tradition which is very common in the end.

It's Bates literature around
cities especially and

I'm giving more of the the the
romanticized positive side of it.

My thought if you know let's not decide
let's just get out there and see and

I'll play spell is one potential
structure for looking at this

very difficult very difficult to study
because it's so darn complicated.

There are very few solid in
purple place studied Sadly

very few if anybody's interested in
this I don't know if you've seen

Doug Ray's book The City that's a very
interesting historical geography of

New Haven Connecticut as
a an industrial city and

through historical data
mostly cartographic data.

He does a very nice job of reconstructing
the the neighborhood life worlds and

it's very interesting to see
the picture of the street light for

example that he portrays there and it
does seem to have the kind of supportive.

So the ability that I'm talking about.

And as you probably know I mean there
are efforts in architecture in design

to try to recreate this.

The most controversial version which
I meant mention very briefly is no

urban ism.

But I personally have a lot of
trouble with New Urbanism because so

much of it is still stage
set architecture and

there's no thorough understanding of
the underlying spatial configuration and

how that's tributes to
play self consciously

west other other issues
here although about

phenomenologists Yes.

Very difficult question.

And that's why I tried to talk
a little bit about that slide

with the woman looking
at the mountain lake.

Because even in that simple
image there are quite a number

of different focus possibilities and
it is true.

I always say to my students
good beginnings make good

ends you know it's a question.

But if you don't have a clear sighting
of what at what the phenomena is

that you're actually hoping to
understand you're in big trouble.

And this often happens when
beginners are trying to do

phenomenology they get muddled as
to what exactly they're looking at.

My feeling about this is that it's very
important if you want to do this kind of

work you have to feel some kind of calling

you know what you have to be working with

with the field of study with
a life world situation that

draws you because if you
have that that sense of

connection that will carry you along and.

And you know you'll be safe but
if you just say well.

Darn it.
Professor seaman months me to

do some silly phenomenology and
I'm going to do you know it's not good.

You've got to feel the pain.

I think and

this is troubling because you know we
don't we don't do our research this way.

Today I least a lot of people don't.

You know they say there's a research grant
for ten thousand I'll do something on that

you know to me that's not he has
your heart may not really be in it.

If your heart's not in it.

What's the point doing something I don't

know

al-Qaeda Yeah well what
about the poor kids yeah.