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Chthonic (UK: /ˈkθɒnɪk/, US: /ˈθɒnɪk/ from Greek χθόνιος khthonios [kʰtʰónios], "in, under, or beneath the earth", from χθών khthōn "earth") literally means "subterranean", but the word in English describes deities or spirits of the underworld, especially in Greek religion. The Greek word khthon is one of several for "earth"; it typically refers to that which is under the earth, rather than the living surface of the land (as Gaia or Ge does), or the land as territory (as khora (χώρα) does
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cae·su·rasēˈzyo͝orə,siˈZHo͞orə/nounplural noun: caesuras
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The wetland view from Sunshine Lane, from west to east.
Deer Lagoon, the most extensive estuarine marsh on Whidbey Island, is located near the island's south end, on the north shore of Useless Bay. The site includes an open lagoon with dikes on both east and west, and an open channel to salt water. The substrate is sand, silt, and mud. Most of the lagoon and surrounding uplands are privately owned, and public access is prohibited.
Deer Lagoon estuary covers 950 acres It consists of freshwater marsh, open water lagoon, mudflats and salt marsh.
Pratītyasamutpāda (Sanskrit: प्रतीत्यसमुत्पाद; Pali: पटिच्चसमुप्पाद paṭiccasamuppāda), commonly translated as dependent origination, or dependent arising, states that all dharmas ("things") arise in dependence upon other dharmas: "if this exists, that exists; if this ceases to exist, that also ceases to exist." The principle is applied in the twelve links of dependent origination doctrine in Buddhism, which describes the chain of causes which result in rebirth and dukkha. By breaking the chain, liberation from this endless cycles of rebirth and dukkha can be attained. Everything except nirvana (nibbana) are the consequence of Pratītyasamutpāda, asserts Buddhism. This principle complements its teachings of anicca and anatta.
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In the creative city model, culture is used to increase value, be it symbolically through images or materialized. In this context, Zukin (1990) refers to “real cultural capital,” meaning spatially linked cultural capital, which becomes a reason for real investments (p. 38). As Bernt & Holm (2005) state, the cultural capital (of artists) becomes objectified and transfers onto certain places; this, in turn, makes access to it easier, as it can be consumed by anyone who enters this space. Ley (2003) examines gentrification processes and how the high level of cultural capital of artists increases the symbolic value of an area and leads to “followers” (other professionals with high levels of cultural, but also economic, capital) coming into a neighbourhood. He uses Bourdieu‟s notions of cultural and economic capital and finds that both of these concepts help to explain gentrification. [ . . . ]
Bourdieu (1999) also describes the “club effect” as a process that excludes according to economic, cultural, and also social capital. Select spaces acquire social and symbolic capital based upon “people and things which are different from the vast majority and have in common … the fact that they exclude everyone who does not present all the desired attributes …” (p. 129). This “club effect” shows that consequences like segregation and symbolic violence can result from a policy that “favors the construction of homogeneous groups on a spatial basis” (p. 129) This can be connected to the creative city concept, in which arts and culture function as enablers for a creative urban milieu, in turn enhancing the city economically and often resulting in gentrification. Artists or “creatives” play an important role here and can be seen as pioneers of gentrification, as they give their cultural capital to a certain district or space. As Bernt & Holm (2005) describe, gentrified spaces become more and more general, losing the specific characteristics that enabled their cultural distinctiveness.