Design Your Life: The Pleasures and Perils of Everyday Things

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  1. The Pleasure and Pain of Speed - Issue 9: Time - Nautilus
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Garage branding Eat fonts Signs of failure Why no one wants to read your blog Dodging bullets in Powerpoint How to make a manifesto.

The Pleasure and Pain of Speed - Issue 9: Time - Nautilus

Notes Includes bibliographical references p. View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"? Campbelltown Public Library. Wagga Wagga Campus Library. Open to the public ; City of Tea Tree Gully Library. Murdoch University Library. Open to the public. Research Library. May not be open to the public University of Canberra Library. University Library. University of the Sunshine Coast Library. Open to the public ; NK Parramatta South Campus Library.

L87 Book; Illustrated English Show 0 more libraries None of your libraries hold this item. Found at these bookshops Searching - please wait We were unable to find this edition in any bookshop we are able to search. It needs fostering weather And so do we. We need to be born with adequate capacities, to live in fostering circumstances, to stay clear of abrupt catastrophe, and to develop confirming associations with other human beings.

That last one Aristotle called friendship or philia. It was a much, much broader concept than it is for us today. Now, I think we can hear Viola, or we can read Viola, reverberating in this definition. Viola is of "good stock" and her noble birth has given her access to education, but she has been exposed to "abrupt catastrophe. It implies vitality, but it also sounds like violation.

And, of course, the violets appear in Orsino's beautiful opening comparison of music, to quote:. And what Orsino is sketching here is another virtue ecology, here the virtues of plants, as a fragile landscape connected by debt and risk, giving and stealing, as well as pleasure and appreciation. And I think that those qualities of Viola are beautifully communicated by this production shot from an outdoor performance. Viola touches others by what she says, but she also touches them by what she leaves unsaid, right?

She is both dynamis and energeia, both potential and actualization. I find all of this, not only in her name, but in her extraordinary "willow cabin" speech. But in the meantime, Viola herself has fallen in love with Orsino, and through this speech, Olivia is falling in love with Viola. And in that pulse, that heartbeat of courage as courage [French pronunciation] , she begins to snare the heart of Olivia as well.

I wanted to understand a couple of things about this passage. I wanted to understand the role of plant life, of that willow cabin, of that working of plants into a kind of a soft architecture that then becomes this living poetics of a half-disclosed love. I also wanted to understand the gender, sexuality, heartbeat of the passage a bit more as well. And so I interviewed a floral designer, Sam Nasstrom.

Sam is a transgender person who worked as a personal trainer before discovering his passion working with flowers and plants, so he has a special relationship to virtue as capacity building. I love this photo, because the microphone is sitting in the middle, as if the arch itself were about to speak. It transforms sound into music, boughs into shade, and, above all, indifference into love.

It is also for virtue, vitality, vulnerability, reverberate, and the double V, double-u, of world. Seriously, I am. So, as you may recall, Viola has been shipwrecked on the shores of Illyria. She is rescued by the Captain. And my twin sister, Ellen, is here in the audience. Twins are big in our family.

How does she get from despair and confusion to employment, my graduate students want to know? So what did my reading partners help me see?


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What they helped me see is that Viola is a displaced person, who needs to find a placement. So placement, along with virtue, has become a kind of key word for me in Twelfth Night. She is like any young person set adrift by family loss, abuse, or disaster, about to go into, say, foster care after being separated from her brother. We could also think of her as a refugee or an unaccompanied minor, a migrant to these unknown and potentially hostile shores, where her legal status is uncertain. Or we could think of her as a homeless, transgender teen. Think of how that opening scene of shipwreck takes the hermaphroditic symbol of the fraternal twins and catastrophically divides them, and Viola is a broken person, who has to figure out how to reincorporate the Sebastian into the Viola.

Orphan, refugee, gender outlaw, or apprentice?

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The point is not to vote, and say one of these predicaments is more appropriate or fitting than another, but rather to begin to read the play for rhythms of distress and repair, of placement and displacement, across a range of situations and historical periods, to allow the play, in Viola's terms, to reverberate across situations in a kind of scansion of virtue.

We want to know where we are geographically, but we also want ethical direction. We want to know what to do. So "What country, friends, is this? Do they relate to my own history and values? Is this a place of friends and friendship in that broader Aristotelian sense of philia? He belongs to both ship and shore. He is not a guardian angel or a good Samaritan, but a capable working man.

Together they consider the fate of Sebastian. She thinks he has died at sea, but then allows herself to hope. And the Captain says, it was "perchance that you were saved," right, the happenstance in happiness, the demon in eudaimonia. And to comfort you with chance, Assure yourself, after our ship did split, When you and those poor number saved with you Hung on our driving boat, I saw your brother, Most provident in peril, bind himself, Courage and hope both teaching him the practice To a strong mast that lived upon the sea, Where, like Arion on the dolphin's back, I saw him hold acquaintance with the waves So long as I could see.

So the Captain is sketching another virtue ecology and he is also describing virtue as capacity building. Notice that he does not fight the waves, taking "arms against the sea of troubles," as Hamlet does, but rather "hold[s] acquaintance with the waves," right?

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He treats them as friends in a conversation, perhaps as friends in an improvisational banter of the sort that we see later in the play, for example, between Viola and Feste. He is able to take the rhythms of the sea and coordinate his own breathing and expectations with the sea in order to survive.

Now, what helped me in articulating that reading was my conversation with social worker Aden Michael. When we read this passage together, she zeroed in on it, and she said that she commonly uses surfing metaphors when she is talking to clients in distress. Adoption specialist Sharon Roszia saw something else in this passage. What she called my attention to was the emphasis on the desire for the missing sibling. She said that, for adopted children who are seeking knowledge about their birth families, their first impulse is to find that lost brother or sister, because there is somewhat less resentment and fear around the sibling, than there is around the parent, and those siblings thus are more available as conduits of what Sebastian calls hope and courage.

DESIGNING YOUR LIFE by Dave Evans and Bill Burnett - Core Message

Well, Viola is heartened, and what follows is a discussion of possible placements. Should Viola serve Olivia or Orsino? Learning that Olivia has also lost her brother, she is very attracted to the idea of seeking her patronage. Simplicity One Day at a Time. Gloria Foster. Structure and Form in Design. Michael Hann. Sandra Rea. Date Night.