By Andrew Blauner
A wild evening outdoor with invoice Buford. A soccer culture with Nathaniel wealthy. A jog round the reservoir with Mark Helprin as he "protects" Jacqueline Onassis from imagined damage. The 843 conscientiously deliberate acres of critical Park haven't in simple terms crept into the hearts of its 38 million annual viewers, but in addition into the lifestyles and paintings of a various array of writers who come to enjoy its common treatment for city chaos.
In Central Park, a dozen specific items commissioned in particular for this booklet are followed by way of a handful of cherished classics. Francine Prose displays on open-air performances by means of Nina Simone and James Brown; Jonathan Safran Foer writes a production fable of the park; Buzz Bissinger meditates on how the park outlined his youth; and Marie Winn definitively solutions Holden Caulfield’s query of the place the geese pass while the ponds freeze over.
This brilliant assortment provides primary Park in all its diversified glory, with an ode on each web page to a fifty-one-block swath of exact big apple magic. A must-read for the millions who contemplate the park their very own, and a souvenir for the numerous extra who stopover at, will probably be a regular for years to come.
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For some, it has become an obsession, as it was for me. Over the past twenty years, my research has continued to revolve around the creation of evocative objects for education. Working with the LEGO Company, I’ve embedded electronics inside LEGO bricks, so that children can make their LEGO constructions come alive— sensing, reacting, and even dancing with one another. I aspire for these “programmable bricks” to serve as a Froebel gift for the twenty-first century. Just as the stars of the night sky inspired, intrigued, and provoked me as a child, my hope is to create new objects that help others find their own obsessions.
Put them on. . And Karen couldn’t help herself, she had to take a few dance steps. As soon as she started, her feet kept on dancing. It was as if the shoes had taken control. She danced around the corner of the church, she couldn’t stop herself. . At home the shoes were put in a cupboard, but Karen couldn’t help looking at them. . She put on the red shoes. Why shouldn’t she? And then she went to the ball and began to dance. But when she wanted to turn right, the shoes danced to the left, and when she wanted to move up the floor, the shoes danced down the floor, down the stairs, along the street, and out the town gate.
They burrow into the past at a distance more and more comparable to that which separates us from archaeological digs. —Jacques Derrida, Archive Fever THE ARCHIVE Susan Yee La Fondation Le Corbusier in Paris archives the work of the world-renowned architect, Le Corbusier. His work is studied by every student of architecture, and in the mid-1990s my task was to closely examine his sketches, drawings, notebooks, models, anything I could find that might help to construct a virtual model of one of his famed unbuilt projects, the Palace of the Soviets.