Relevant bibliographies by topics / Old Jail Art Center

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Old Jail Art Center'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Old Jail Art Center"

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Ahn, Eun-Ju, and Jeong-Wuk Lee. "Meaning of art activity that 4-year-old children experience in daycare center." Journal of Korea Open Association for Early Childhood Education 23, no. 1 (February 28, 2018): 137–69. http://dx.doi.org/10.20437/koaece23-1-06.

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Kim, Suyoun, and Kayoun Chung. "Exploring Phenomenological meanings of Art Experience in 5-year-old classrooms at Daycare center." Korean Association For Learner-Centered Curriculum And Instruction 19, no. 6 (March 30, 2019): 819–47. http://dx.doi.org/10.22251/jlcci.2019.19.6.819.

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Ocheretyaner, ER, J. Yusuff, and TE Park. "Immunologic and virologic responses to antiretroviral therapy in treatment-naïve, HIV-infected elderly patients." International Journal of STD & AIDS 30, no. 13 (November 2019): 1304–10. http://dx.doi.org/10.1177/0956462419872857.

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Currently available data on immunologic and virologic responses to antiretroviral therapy (ART) in elderly patients are conflicting. The primary objective of this study was to assess immunologic and virologic responses to ART in treatment-naïve, HIV-infected elderly patients compared to younger patients. This was a single center, retrospective, descriptive study including treatment-naïve, HIV-infected adults initiated on ART between 1 January 2005 and 30 April 2015. Immunologic and virologic responses were compared between the ages ≥50 and < 50 years old. A total of 158 patients were included. By 14 months of ART, 85.9% (n = 67/78) of the patients ≥50 years old and 92.5% (n = 74/80) of those < 50 years old achieved immunologic response (p = 0.02). By 24 weeks of ART, 64.1% (n = 50/78) of the patients ≥50 years old and 65% (n = 52/80) of those < 50 years old achieved virologic response (p = 1). The amount of time it took the elderly patients to achieve virologic suppression was not significantly different compared to the younger patients (p = 0.459). Treatment-naïve, HIV-infected elderly patients achieved virologic response to ART that was comparable to younger patients although their immunologic response to ART was significantly lower.
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Lim, Byung Woo. "A Study on the Old City Center Regeneration Project for Dongducheon City via Public Art Education." Journal of Cultural Product & Design 55 (December 31, 2018): 185–95. http://dx.doi.org/10.18555/kicpd.2018.55.17.

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Alamsyah and Siti Maziyah. "Arts and Environmental Conservation: Study of Kentrung Art in Jepara." E3S Web of Conferences 202 (2020): 07002. http://dx.doi.org/10.1051/e3sconf/202020207002.

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Kentrung art is one of arts that exist on Jepara coast. This is a speech art played by two people using beaten instruments such as terbang or tambourines. Kentrung is not only a fiction for entertainment, but also contains a pasemon (parable) or human life symbols. This art center is located in Ngasem village, Batealit, Jepara. Kentrung proponents are elderly or old people (wong lawas) who activate kentrung art in Jepara. Old people is as a representation of ancient people or the people who do not following the times. As the older person, one of their life view is to respect nature preservation. Their respect for the environment is reflected in the activities that are often asked to perform in earth alms events considered at the time of alms and the insertion of kentrung stories that are often delivered between the plays that are being performed. Even though it is not dominant, love expression of the performer and the arts towards the environment is seen in the insertion of the stage.
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Lai, Linda Chiu-han. "Algorithmic Art: Shuffling Space and Time." Transfers 9, no. 2 (June 1, 2019): 112–18. http://dx.doi.org/10.3167/trans.2019.090208.

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Why are art-science dialogues important, and how should they take place? How do our everyday culture and institutional constructs define and delimit such possibilities? Why do contemporary art lovers still presume they are immune to and from scientific knowledge? How should a visitor of a media art event make sense of the machine work? Algorithmic Art: Shuffling Space & Time (AA) directed these questions to technical experts, artists, art lovers, and the public through a series of themed discussions and a six-hundred-square-meter indoor playground of machines and computational installations. AA also sought to key in on the question of survival. What mark has the struggling existence of the twenty-year-old School of Creative Media at the City University of Hong Kong left to Hong Kong’s (media) art history? The school remains the only pedagogic research center in Hong Kong where conceptual issues of new media art creation and how to “live” in an age of big data are interrogated through scholarship and practice.
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Rezazadeh, Hossein, Razieh Froutan, Ali Ahmad Abadi, Seyed Reza Mazloum, and Kaveh Moghaddam. "Effects of Art Therapy Program on Anxiety and Depression among 6-12-Year-Old Burned Children." Open Access Macedonian Journal of Medical Sciences 8, B (March 20, 2020): 126–32. http://dx.doi.org/10.3889/oamjms.2020.3916.

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INTRODUCTION: There are various ways to relieve physical injuries, but less attention has been dedicated to the treatment of psychological injuries in burned children. AIM: The present study was conducted to investigate the effects of art therapy using painting and music on reducing anxiety and depression in burned children. MATERIALS AND METHODS: This study was a three-group randomized clinical trial with a pre-test-post-test design that was performed on 60 children aged 6–12 years. The patients were admitted to the Burn Center of Imam Reza Hospital, Mashhad, Iran, within 2018 were selected using convenience sampling method and randomly divided into three groups, namely, two intervention (subjected to art and music) and one control group. Ten 45-min-long art therapy sessions were conducted every day. Anxiety was measured with parent-version of the Spence Children’s Anxiety Scale, and depression was measured using Maria Kovacs Children’s Depression Inventory Questionnaire. The control group only benefited from the routine services of the center. RESULTS: Before the intervention, the total mean scores of anxiety in the burned children in the painting, music, and control groups were measured at 90.4 ± 5.4, 84.8 ± 6.8, and 77.4 ± 13.8, respectively. However, the total mean scores of anxiety after the intervention in the burned children in the painting, music, and control groups were estimated at 53.3 ± 4.4, 45.9 ± 8.4, and 72.4 ± 12.9, respectively (p < 0.001). Furthermore, the mean of depression total score before the intervention was measured at 38.7 ± 3.4, 32.8 ± 5.4, and 28.9 ± 5.4, for painting, music, and control groups, respectively (p < 0.001). Moreover, the total mean score of depression after the intervention in the painting, music, and control groups was obtained as 29.9 ± 4.0, 19.3 ± 3.8, and 25.2 ± 4.9, respectively (p < 0.001). CONCLUSION: Art therapy using painting and music led to the reduction of anxiety and depression in children with burns; therefore, it is recommended to use the technique for this population.
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Nabors, Emily, Mindy Renfro, Jon Pynoos, Sarah L. Szanton, Jon Sanford, and Susan Stark. "INNOVATIONS IN HOME MODIFICATION RESEARCH: THE STATE OF THE ART." Innovation in Aging 3, Supplement_1 (November 2019): S635. http://dx.doi.org/10.1093/geroni/igz038.2365.

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Abstract The overwhelming preference of older adults is to stay in their homes for as long as possible (AARP). However, most housing lacks supportive features and presents barriers that jeopardize residents’ ability to successfully age in place. Only 1% of houses have five key features to ensure accessibility: no-step entry, single-floor living, lever door handles, accessible electrical controls, and extra-wide doors and hallways (Harvard Joint Center for Housing Studies), making the vast majority unsuitable for persons who use wheelchairs and problematic for the growing number of people with activity limitations. Persons least likely to have such features in their homes need them the most: old-old, low income, frail, and residents in older housing stock. Although home modification can support people as their needs change and preclude the need to move, often to institutional settings, the majority of older adults lack these supports. Recent studies have demonstrated the role of home modification in health, safety, and cost effectiveness. This symposium will convene a panel of researchers to share evidence-base in home modification, recent cost-saving innovations including the CAPABLE Program, and policy change to improve service delivery.
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Friedman, John B. "Bald Jonah and the Exegesis of 4 Kings 2.23." Traditio 44 (1988): 125–44. http://dx.doi.org/10.1017/s0362152900007030.

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In recent years, a good deal of attention has been paid to the place of typology in late medieval art. This way of thought so characteristic of the Middle Ages, in which Old Testament persons and events are seen to have a prefigurative relationship to those of the New, was a popular teaching device. It is nowhere better seen than in the Biblia pauperum or picture Bible, which originated in a mid-thirteenth-century Dominican milieu and was probably inspired by the altar piece of Nicholas of Verdun, made in 1181. The pages of these books contain drawings that show the typological relationship between Old and New Testament events by means of a center roundel depicting some episode of Christ's life, known as the anti-type, flanked by two Old Testament scenes, the types, which were thought to prefigure it. Appropriate Bible prophecies in banners heightened the visual impact of the drawings for the literate. From its inception, the Biblia pauperum was of enormous importance for northern European art, and its influence can be seen well into the Reformation.
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Müller, Alicja. "Aesthetics of full visibility. The affirmative aspect of negation in the art of dance." Tekstualia 2, no. 49 (June 12, 2017): 77–87. http://dx.doi.org/10.5604/01.3001.0013.3118.

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The aim of this article is to analyze the positive (affi rmative) side of negation on the example of changes in the aesthetics of classical ballet, modern dance, and postmodern choreography. It demonstrates that every negation is, at the same time, a negotiation. In this context, negotiation means fi ghting for the visibility and representation of bodies that do not fi t in the classical canon of ballet, which is presented as a system of oppression. The fi rst part is of a theoretical character and focuses on the aesthetic changes in the fi eld of the art of dance. The second part provides an analysis of two contemporary examples of choreographies („The Old Woman and the Door” by Mats Ek and „C.O.R.P.uS” by Compagnie de l’Oiseau-Mouche) in which old and diseased bodies appear at the center of both the performance and the audience’s attention. The defi nition of the aesthetics of full visibility serves as a descriptive frame for dance performances that abolish the invisibility of bodies incompatible with the classical canon.
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Dissertations / Theses on the topic "Old Jail Art Center"

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Yue, Sam Sing Bai. "Developing a dialogue between old and new: North Carolina University Center for Art and Architecture." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53313.

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In the preservation of a small historic church, a state-wide education center for the arts is proposed due to the similarity of their inherent and adaptive nature in function. A similar sized, new building mass with a contemporary design style is added to the old church; it will also utilize a competitive contrast to the old church in its design. The integration of the old and the new buildings will find new meanings within historic preservation.
Master of Architecture
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2

Hsieh, Yu-Hsi, and 謝侑錫. "Finding places in historic streets in Taiwan - The cases of Dihua, Sanxia, Shengkeng old streets and Yilan Folk Art Center." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/09754142506947135253.

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碩士
國立臺灣科技大學
建築系
105
With the prevalence of tourism, more people have come to appreciate the significance of historic districts, which have abundant stories. The preservation and renovation of historic districts have become the significant government projects. After the execution of the “Specific Purpose District of Historic Landscape”, the similarity of the architectural types and the monotony of the old streets activities generate the phenomenon of homogenization among the old streets which makes them become withered. To solve these problems, the issue of “place-making” plays an important role in the process of preservation and renovation. Attempting to understand the relations between the place identities and the uniqueness of the old street are the two core values of this research. This particular research focuses on the methods of place-making in Taiwan’s old streets. The research subjects of the old streets are Dihua, Sanxia, ShengKeng Old Streets, and Yilan Folk Art Center. This research examines on the differences in place-making among three old streets under the “Specific Purpose District of Historic Landscape” plan and the artificial and tourist old street in Yilan. This investigation explores the method and configuration of place-making through field observations of old streets and referencing theories by Kevin Lynch in The Image of the City and Christopher Alexander in A Pattern Language. Apart from these place-making theories, human behavior and documentations of shop front typologies have been included in the field observations. Additionally, questionnaires and surveys results indicate that different old street configurations, users and types of shop fronts resulted in a diverse usage of space. The comparisons among the results of the questionnaire surveys and field observations demonstrates that the areas with obscure sense of place in old streets milieu have the identity of plasticity. Simultaneously, the conflicts among the identities of the image elements, and the dominance and recessiveness in pattern languages, both influence the way of making the overall sense of place in old street. Due to this occurrence, it is essential to establish negative lists of place-making elements that hinder place-making in the old street for the two main applied theories in this specific research. Furthermore, under the phenomenon of the homogenization in old streets, the configuration of the place reveals the heterogeneity. The research contributes in the establishment of an analytic framework for applying place theories into the field survey of old streets, and have produced two main results. One is the identities and correlation of the old streets within individual and integral scales. The other is the differences of the way to identify and construct the sense of place among the old streets users. In conclusion, this thesis contributes a significant point of view in approaching the preservation and bringing to light the renovation issues of the old streets in Taiwan.
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Tsai, Ming-Jen, and 蔡明臻. "The Private Sector's Operating Model of Old Houses and the Local Development Research-A Case Study on Chia-yi Mix Art Center." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/55ztk2.

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碩士
環球科技大學
公共事務管理研究所
105
"Reuse of idle space", and "monument activation" are policies that the government has vigorously promoted in recent years. The spontaneous movement such as "old house" is in the ascendant. The practices and ideas of folk old houses are not the same as the public sector. This paper explores the operating model of private old houses through case study and reference analysis, and attempts to explain its relationship with localities. Take Chia-yi Mix Art Center for example. The purpose of this case is as follows: First, the preservation of local views: emphasis on the integrity of people and living environment, from the collective memory of the individual emotional projection, , shape the place, and construct the identity of the cultural basis. "Save" is one kind of preservation of life context and place. Second, the principle of local operations: capture the local community characteristics and advantages, and become their own advantages of the operations. And also use their own values and new ideas to guide the local community values and new directions. Third, the bottom-up preservation: preservation is the recognition and understanding of local values and effort for the belief in the "price value." Once you have established a deep consensus on the "place", people will heat up love and pursue the ideals. Fourth, with the design and operation analysis of the old house reuse to respond "how to design history?" and the nostalgic experience marketing strategy. Finally, from the observation of social phenomena, it can reflect the current policy of old house reusing. In the case of government departments, it is proposed to establish a platform for old house media and expand the type of old house subsidy. In this way, the old house policy can continue to develop.
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Books on the topic "Old Jail Art Center"

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Center, Old Jail Art. Old Jail Art Center catalog. Edited by Peck James Frederick editor. Albany, Texas: Old Jail Art Center, 2016.

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2

Fees, Paul. Frontier America: Art and treasures of the Old West from the Buffalo Bill Historical Center. New York: The Buffalo Bill Historical Center in association with H.N. Abrams, 1988.

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İnandıktepe: Eski Hitit çağında önemli bir kült merkezi = An important cult center in the old Hittite period. Ankara: Türk Tarih Kurumu Basımevi, 1988.

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1949-, Rubin David S., and Cleveland Center for Contemporary Art., eds. Old Glory: The American flag in contemporary art : June 14-August 14, 1994, Cleveland Center for Contemporary Art. Cleveland, Ohio: Cleveland Center for Contemporary Art, 1994.

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Rome's Alpine Frontier Proceedings of the Conference Held at the Center of Old World Archeology and Art. Brown Univ, 1990.

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Rolf, Winkes, Hackens Tony 1939-, Brown University. Center for Old-World Archaeology and Art., Brown University. Dept. of Art., and David Winton Bell Gallery (Brown University), eds. Love for antiquity: Selections from the Joukowsky collection : an exhibition organized on behalf of the Center for Old World Archaeology and Art, with the cooperation of the Department of Art, Brown University by Rolf Winkes, and presented at the Bell Gallery, List Art Center, Brown University, October 12 through November 8, 1985. Louvain-la-Neuve, Belgium: Institut supérieur d'archéologie et d'histoire de l'art, Collège Erasme, 1985.

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Brown University. Center for Old-World Archaeology and Art., ed. Rome's alpine frontier: Proceedings of the conference held at the Center for Old World Archaeology and Art, Brown University, Providence, Rhode Island, September 27th, 1986. [Providence]: Art and Archaeology Publications, 1990.

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Marsh, Bill. Pictorial map of old Philadelphia: Historic sites, museums, art, shopping, transit : every block, every building rendered in precise detail, Center City map and index included : Multilingual. 2nd ed. Marsh Cartographic, 1994.

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Rolf, Winkes, Hackens Tony, Université Catholique de Louvain. Institut Supérieur d'Archéologie et d'Histoire de l'Art., and Brown University. Center for Old World Archaeology and Art., eds. Love for antiquity: Selections from the Joukowsky Collection : an exhibition organized on behalf of the Center for Old World Archaeology andArt with the cooperation of the Department of Art, Brown University. Providence, R.I: Center for Old World Archaeology and Art, Brown University, 1985.

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Flentye, Laurel. The Art and Archaeology of the Giza Plateau. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199935413.013.29.

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The pyramid complexes of kings Khufu, Khafra, and Menkaura of the Fourth Dynasty of the Old Kingdom period with their surrounding cemeteries at the Giza Necropolis contribute to our understanding of the development of a royal necropolis. Although there is evidence for pre-Fourth Dynasty settlement and burial, Khufu’s pyramid complex of the early Fourth Dynasty included a decorative program with reliefs and presumably statuary; while the decoration of the mastabas ranges from slab stelae and reserve heads to fully decorated chapels. Khafra’s and Menkaura’s pyramid complexes of the mid to late Fourth Dynasty probably focused more on statuary reflecting an evolving ideology of kingship. The quarrying of local limestone provided the necessary core blocks for the pyramids and mastabas, creating areas for the Sphinx and rock-cut tombs of the late Fourth Dynasty into the Fifth. The Heit el-Ghurab settlement (HeG), a center of production, and the tombs of the pyramid builders also contribute to our understanding of the necropolis’ functioning and its hierarchical structure. Giza continued to be used for burial through the Late Period.
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Book chapters on the topic "Old Jail Art Center"

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Lothian, Alexis. "How to Remix the Future." In Old Futures, 214–52. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479811748.003.0009.

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Chapter 6 moves from futures depicted on screen to the audiences who take them up and respond to them by highlighting grassroots cultures of video remix that have flourished since the early years of the digital age. The speculative modes of cultural production and reception among science fiction media’s feminist fans showcase queer possibilities that emerge from efforts to push back against the pressures of dominant media temporalities. Their creative methods are the focus of this chapter, which highlights a practice that has emerged from obscurity to some influence in the last ten years: the subcultural art form of fans making music video, or vidding. The chapter uses the term “critical fandom” to center the affective and political temporalities of creative fan works that reimagine the racialized and gendered economies of digital media production and consumption. It analyzes several fan videos in depth to develop a theory of the form, then turns to queer, feminist, decolonial engagements with the television series Battlestar Galactica (2003–2009). Finally, the author’s own video remix practice is discussed as a way to incorporate the insights of this form into scholarly production.
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R. Chauhan, Parth. "Human Evolution in the Center of the Old World: An Updated Review of the South Asian Paleolithic." In Pleistocene Archaeology - Migration, Technology, and Adaptation. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94265.

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The Indian Subcontinent was an important geographic region for faunal and hominin evolution in Asia. While the Oldowan as the earliest technocomplex continues to be elusive, the oldest Acheulean is dated to ~1.5 Ma and the early Middle Paleolithic is ~385 ka (from the same site). New Late Pleistocene dates have been reported for the Middle Paleolithic which continues up to 38 Ka in southern India. The Upper Paleolithic remains ambiguous and requires critically multidisciplinary investigations. The microlithic evidence appears to spread rapidly across the subcontinent soon after its emergence at ~48 Ka (though its origin is debated) and continues into the Iron Age. The timeline of the initial arrival of Homo sapiens continues to be debated based on the archaeology (advanced Middle Paleolithic vs. microlithic) and genetic studies on indigenous groups. Other issues that need consideration are: interactions between archaics and arriving moderns, the marginal occurrence of symbolic behavior, the absolute dating of rock art and the potential role of hominins in specific animal extinctions and ecological marginalization. The region does not appear to have been a corridor for dispersals towards Southeast Asia (although gene flow may have occurred). Instead, once various prehistoric technologies appeared in the Subcontinent, they possibly followed complex trajectories within relative isolation.
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Hamkins, SuEllen. "Finding One’s Voice: Recovering from Trauma." In The Art of Narrative Psychiatry. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199982042.003.0014.

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Vivian Owusu, a stunning twenty-one-year-old African woman who grew up in Ghana, was about to walk out of the university counseling center when I went to the waiting room to get her for our initial appointment. Her first psychiatric provider had retired a year after meeting her and her next one took a different job six months later, so I was her third psychiatrist in less than a year. Vivian had not shown for her first two appointments with me and now, due to a double-booking error that was my fault, I was thirty minutes late. I apologized and asked if she had time to stay and meet with me. I could see her anger and agitation. “I suppose.” Irritated but still poised, Vivian followed me down the hall to my office. What an unfortunate beginning, I thought, feeling harried. We had been short-staff ed for months and I had been squeezing patients in as best I could, feeling like I wasn’t doing my best work. Vivian settled herself upright on my couch and looked at me coolly. She had big dark eyes, flawless brown skin, beautifully braided hair, a button nose, and a hostile expression. In response to my questions, she told me she was a junior, pre-law. She hadn’t slept for three or four days. Depression had been plaguing her and she had been having thoughts of killing herself. Her expression of hostility briefly showed a trace of sadness. “I don’t trust people,” she said. “I take things personally and I get annoyed.” She often felt emotionally volatile and easily got upset with people if she felt they were rejecting her. I had skimmed her medical record prior to the appointment and saw that she had had multiple emergency contacts with our clinicians and two psychiatric hospitalizations, the second five months earlier. She said she wasn’t having suicidal thoughts currently and would call us if she did. What she wanted from me was a refill of medicines she was taking to help with the depression and anxiety.
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Zukin, Sharon. "Introduction The City That Lost Its Soul." In Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0005.

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In the early years of the twenty-first century, New York City lost its soul. Some people doubt that the city ever had a soul, because New York has always grown by shedding its past, tearing down old neighborhoods and erecting new ones in their place, usually in a bare-faced struggle for financial gain. Others just shrug because, today, all big cities are erasing their gritty, bricks-and-mortar history to build a shiny vision of the future. Beijing, Shanghai, and other Chinese cities are clearing out the narrow, rundown alleys in their center, removing longtime residents to the distant edges of town, and replacing small, old houses with expensive apartments and new skyscrapers of spectacular design. Liverpool and Bilbao have torn down their abandoned waterfronts and turned aging docks and warehouses into modern art museums. In London, Paris, and New York artists and gentrifiers move into old immigrant areas, praising the working-class bars and take-out joints but overwhelming them with new cafés and boutiques, which are soon followed by brand-name chain stores. A universal rhetoric of upscale growth, based on both the economic power of capital and the state and the cultural power of the media and consumer tastes, is driving these changes and exposing a conflict between city dwellers’ desire for authentic origins—a traditional, mythical desire for roots—and their new beginnings: the continuous reinvention of communities. To speak of a city being authentic at all may seem absurd. Especially in a global capital like New York, neither people nor buildings have a chance to accumulate the patina of age. Most residents are not born there, neither do they live in the same house for generations, and the physical fabric of the city is constantly changing around them. In fact, all over the world, “Manhattanization” signifies everything in a city that is not thought to be authentic: high-rise buildings that grow taller every year, dense crowds where no one knows your name, high prices for inferior living conditions, and intense competition to be in style.
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Zukin, Sharon. "How Brooklyn Became Cool." In Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0007.

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It’s one o’clock in the morning on a warm October night, and the streets of northern Brooklyn are eerily deserted. The hulks of warehouses and the chimney of the old Domino sugar refinery stand guard along the waterfront, while grim industrial buildings hunker down in the shadow of the Brooklyn-Queens Expressway. Steel gates hide the windows of small plastics and metalworking shops. Nearby tenements are silent and dark. You’re wide awake, though, driving through the darkness on Kent Avenue, bumping over warped asphalt and steering around potholes. You’re circling Williamsburg, looking for the neighborhood that made Brooklyn cool. First you pass the Northside, the original center of Brooklyn’s hipster culture, a cluster of art galleries, cafés, bars, and boutiques around the subway station at North Seventh Street and Bedford Avenue. Then you pass the Southside, where French bistros and Japanese hair salons have recently joined yeshivas and bodegas, and artists and graduate students are a noticeable presence on the streets. Ahead of you stretch neighborhoods that have been predominantly black since after World War II but are now rapidly gentrifying and becoming socially and ethnically more diverse—that is, richer and whiter: Bedford-Stuyvesant, Fort Greene, Clinton Hill. The old Brooklyn Navy Yard sits vast and uninhabited just one block to the west. A few blocks beyond that, brownstone townhouses sell for a million dollars and up. Navigating solo through this dark landscape, you don’t see any sign of life. But when you turn onto the wider roadway of Flushing Avenue, you meet up with men and women walking in couples and groups of four. They are Hasidic Jews, women with heads covered in wigs and scarves, skirts below their knees, and black-hatted men wearing long black overcoats. Sabbath began at sundown. Because driving is prohibited then, any believers who are out on the street at this hour must find their way home on foot. After you pass the Hasidim, you find a few more people walking on the street; these men are wearing tight jeans and the women are in short skirts.
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