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times will do far more harm than good – it will merely reinforce bad habits, and make them harder to ex- punge. Assuming that the anonymous master hasn’t time to sit there listening to us practise, however, we have to become our own masters, asking ourselves why we are repeating a passage, what was wrong with it before, and what it is that we are aim- ing to improve. The really good thing about this is that if we don’t just repeat aimlessly, but focus on what really needs to be done, then our practice is likely to be finished far sooner; and we can go away and

41 Practice No one can make a credible argument that writing or play- ing music is itself a spiritual practice. It is what artistic ex- pression shares with spirituality that makes the relationship between the two a symbiotic one. Religions seek to align them- selves with spirituality, but the reverse is not necessarily true: a person seeking spiritual fulfillment needn’t find it only in religious practice. Creative artists need not seek spirituality for their practice, but the converse is still true. Only art, or culture, or something “created,” rather than

historical. Practising is a form of work, but it is one in service to either the mastery of a work or the mastery of a practice, understood as a body of work, where the verb becomes a noun, and acts become things or skills. Practising is intentional, H A B I T A N D E V E N T 151 the intention being to progress within the parameters of given performative benchmarks; rehearsing is retentional and protentional, to stretch somewhat the reach of Husserl’s phenomenological terminology. Rehearsal is not con- cerned with self- improvement but with the retention

An Intellectual History of the New Town Movement
History, Sexuality, and Women's Experience of Modern War

3 Practice When living is a practice, life is an ever- evolving work of art. Historically, artists had a medium, a subject, and a style. Currently, many artists speak of having a practice. I welcome that term. Doctors and lawyers refer to their work as a practice, indicat- ing the totality and credibility of what they do. Artists are often deemed (and demeaned) as free and inspired yet reckless spirits, not regarded as equals to the professional class in their craft. The combined term art practice verifies their training and the seriousness of their

Time, Agency, and Science

, and freshly painted white and turquoise. We unloaded our belongings and went to bed, hardly noticing the stifling heat. The next morning we divided the work just as we had upon our 3 Practice 112 * ch a p t e r t h r e e arrival in Madison; Kim was left to arrange the apartment while I went to the Psychology Department office. As I entered, Eleanor Orth, Frank Logan’s secretary, looked up and without hesitation said, “Oh, Dr. Gluck, we have been waiting for you; we are so glad that you are here.” She was the first person outside of my Wisconsin friends to

PRACTiCing CommoDiTY 1 B I n g e r e L I g I o n Social Life in Extremity 0 How often do scholars of religion— or, better put, scholars as- sociated with the term religion— experience moments of interdepartmental wincing, wariness, or sweet- faced condescension? I don’t mean to confess outright abuse. I seek to capture that moment when a colleague who works in the same geographic region as you do says that she tries to “pretend there are no religious people” when she visits a common archive, or that moment when a high- level administrator visits your