From college students to shopping mall flaneurs, many praise the creamy cheese sauce and smooth shell pasta as one of the highlights at the soup and sandwich chain.
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So when science Twitter's flaneurs noticed this week that an article in the open-source journal PLoS ONE published a paper whose authors credit intelligent design—God—for the biomechanics of the human hand, well, things got out of you-know-what.
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"Go, Went, Gone" does not simply observe such reversals but enacts them, and in so doing becomes one of those books, like " The Death of Ivan Ilyich ," or, indeed, "Open City," which challenge us not to be mere flaneurs of the text but to change our lives and the lives of those around us.
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She marries this, in the later parts of her book, with the intellectually vibrant life of the old Calcutta adda — the almost endless coffeehouse discussions of the era's poets and Communists and spies and flaneurs, whose lives happened to intersect, off and on, with some of the tweed-and-hobnail crowd from the high hills, with predictably trying consequences.
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We can feel the Decameron by Boccaccio in the novel's texture, but we can follow footsteps of the Invisible Cities by Italo Calvino in its substance. ‘Cities,’ says Calvino, ‘are the places of exchange, as it is told in the history books, it is not only commercial exchange rather exchanging words, desires and memories.’ The characters in Istanbul Istanbul exchange words, desires and memories.” Ömer Türkeş, SabitFikir News (Turkey) "Sonmez’s words are conquering the whole world." ADNKronos (Italy) “The characters in Istanbul Istanbul are like the flaneurs who turned the streets of Paris into reality by pacing it up and down.
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Guangzhou, Cairo, São Paulo 08, 2008 wallpaper installation at Mac's Musée d'Art Contemporain, Grand-Hornu, Belgium 2008 Porte de Flandre / Bruxelles 05, 2006 video screens installations at 'Bunkier Sztuki, Kraków, 2006 Streuli is known for his street portraiture, which has documented the anonymous urban citizen in various cities all over the world, from Sydney and Tokyo to Athens and New York. Streuli’s photographs focus systematically on ordinary street dwellers, and the contemporary ‘flaneurs’ going about their daily business. The heterogeneity of the crowd, as the central component of the cultural dynamism of modernity, and the position of the individual in the crowd, lie at the core of Streuli’s practice. He works with a variety of presentation media, from large-format colour photographs, and installations of slide and video projections, to billboards and large-scale window installations on the facades of public buildings.
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