I know the deep night ballet and its seasons best This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance—not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any one place is always replete with new improvisations. Jane Jacobs, The Death and Life of Great American Cities The stoop is a space of spectatorship danceorder
The senses of form and tone Man painted and danced long before he learned to write and construct. The senses of form and tone are his primordial heritage. Sibyl Moholy-Nagy, Pedagogical Sketchbook artformdance
His ear in his toes A Quote by Friedrich Nietzsche The dancer has his ear in his toes. The Eyes of the Skin: Architecture and the Senses dance
Men are not an abstraction Placing work and commerce near residences, but buffering it off, in the tradition set by Garden City theory, is fully as matriarchal an arrangement as if the residences were miles away from work and from men. Men are not an abstraction. They are either around, in person, or they are not. Working places and commerce must be mingled right in with residences if men, like the men who work on or near Hudson Street, for example, are to be around city children in daily life—men who are part of normal daily life, as opposed to men who put in an occasional playground appearance while they substitute for women or imitate the occupations of women. Jane Jacobs, The Death and Life of Great American Cities 9. Scattered Work genderwork