Word: habitability
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Tracking Shot #2--The pedestrian in the black coat walks out of a dormitory, passing a group of students in front. All nod, seemingly out of habit. The pedestrian walks over to the checker Marathon which has now pulled up in front of the dorm. The car is parked and they walk to another dormitory where the woman in the windbreaker is waiting, and then they continue until they reach the point where they are again walking past the Brattle, talking, with one looking up at the airliner...
...love the New York theater; one-fourth of Broadway ticket buyers are from outside the metropolitan area. A new generation of entertainment consumers, attracted by television commercials, half-price tickets made available on the day of the performance, and the ease of ordering by phone, has developed the Broadway habit, presaging financial health for years to come...
...fear is appropriate because there is a real danger. But if, instead of a tiger, I see a small mouse and am terrified by that harmless creature, the fear is useless." For readers who have no difficulty understanding this formidable concept, Wolpe goes on to define emotion, imagination and habit. With the exception of "systematic desensitization," the author shuns words over two syllables long, and those few staples which he cannot absolutely avoid--anxiety and inhibition, for instance--he italicizes for emphasis...
...burnout, for all its serious implications, somewhat irritating to contemplate? Part of the problem resides in the term itself. It is too apocalyptic (in its private, individual way). Burnout implies a violent process ending in a devastation. The term perfectly captures an American habit of hyperbole and narcissism working in tandem: a hypochondria of the spirit. The idea contains a sneaking self-aggrandizement tied to an elusive self-exoneration. In the concept of burnout, there is no sense of human process, of the ups and downs-even the really awful downs-to which all men and women, in all history...
...turn of the century. Its bearers were among the pioneers of photographic modernism-Edward Steichen, Clarence White and Alvin Langdon Coburn, with their "symbolist," tremulous images of tree and field. In these artful and decorous prints, as Szarkowski remarks, "Nature has become ... a part of the known habit and syntax of art, like fruit or flowers arranged on the sideboard." After them, the problem was to recomplicate the game of seeing; to show how the camera could deal with what was neither familiar in landscape nor quite amenable to the given pictorial conventions. Edward Weston did this with closeups...