For the cover of this week’s New Yorker, Chris Ware drew several vignettes of NYC arranged in his trademark grid as a companion to this incredible piece about a single day of the Covid-19 crisis in the city. About the cover, Ware wrote:
Teeming with unpredictable people and unimaginable places and unforeseeable moments, life there is measured not in hours but in densely packed minutes that can fill up a day with a year’s worth of life. Lately, however, closed up in our homes against a worldwide terror, time everywhere has seemed to slur, to become almost Groundhog Day-ish, forced into a sort of present-perfect tense — or, as my fellow New Yorker contributor Masha Gessen more precisely put it, ‘loopy, dotted, and sometimes perpendicular to itself.’ But disaster can also have a recalibrating quality. It reminds us that the real things of life (breakfast, grass, spouse) can, in normal times, become clotted over by anxieties and nonsense. We’re at low tide, but, as my wife, a biology teacher, said to me this morning, “For a while, we get to just step back and look.” And really, when you do, it is pretty marvellous.
It’s unfortunate that places like the Brooklyn Botanic Garden need to be closed during this stressful time, because the cherry blossoms are in bloom right now and what a balm that would be to so many souls. Luckily, cinematographer Nic Petry was granted access to the garden a couple of weeks ago to capture a relaxing and meditative walk through the Japanese Garden.
The historic garden is one of the oldest extant Japanese gardens in the United States, and its collection of cherry cultivars was in lovely bloom during filming. Petry, a specialist in moving camera techniques, conceived the piece as a way to recreate the meditative experience of walking through the garden on a glorious, early spring day.
At Elmhurst, the improvisation began as soon as the first surge of coronavirus patients started arriving in the middle of March. In order to more efficiently sift through the crowds and find the most severe cases, the staff set up a divider at the entrance. Medical workers armed with thermometers and oxygen monitors steered people with milder symptoms to a separate treatment tent. Those who were seriously ill went into critical care. Thirteen patients at the hospital died over a 24-hour stretch during the fourth week in March. A refrigerated trailer was parked behind the building to store dead bodies.
In a short behind-the-scenes video about his photos and the piece, Montgomery says “I think if the general public could stand where I was for at least 10 to 30 seconds, I think everyone would be staying home.”
Family members weren’t allowed into the hospital because they, too, could get infected or spread the virus to others if they themselves were sick. But Duca asked for permission from his supervisor to let the man’s wife and daughter in, just for a few minutes. “I saw his face when he looked at his wife coming inside this room,” Duca recalls. “He smiled at her. It was a fraction of a second. He had this wonderful smile.” He continues: “Then I saw that he was looking at me. He realized that there was something wrong if only his relatives were coming inside.” The man knew in that instant that he was going to die, Duca says. As the man’s breathing worsened, morphine was started. He died 12 hours later.
Read the whole thing; it’s upsetting, terrifying, and deeply humanizing. I wish Americans watched less TV news and read more — if everyone in the US read these articles, I believe the entire tone of this crisis would change and become more urgent.
It would be impolitic to say that the New York accent is the signature American accent. You could argue, though, that the New York accent is the accent of the current crisis. It’s there in the burly roundness of the words coming out of Gov. Andrew Cuomo’s mouth, or the acidity in the tone of Dr. Anthony Fauci, or the way President Trump scrapes all of his syllables together. (Senator Bernie Sanders’s howling woof counts here, too.)
For New Yorkers, that’s made the conversation around the coronavirus feel as local as the pandemic’s actual impact. Watching the news can feel like watching quarrels between grouchy neighbors.
In this climate, the #BestNYAccent challenge was even more reassuring. A reminder of local resilience and stubbornness in the face of global trauma. A monument to history and place standing firm against titanic winds. A middle finger to life’s cruel dice roll.
Compiled from actual online real estate listings, the artwork collapses the high and low ends of the market, architectural periods and styles, and neighborhoods and affordability into a single space that cumulatively creates a portrait of New York’s living spaces and the real estate market. Like a standard real estate ad, the listing shows the price, number of bed- and bathrooms, and square footage, all of which are updated weekly based on the city’s aggregated real estate listings.
Take some time to explore the project — take the 3D virtual tour, scroll through all of the bathrooms & closets, peruse the apartment features, and take the video tour:
Do you crave brilliant sunshine and the peace Zen behind closed doors at home, and the bustle and excitement of the big city at your doorstep?
Do you dream of a Manhattan life?
Do you dream of Brooklyn living with Manhattan in reach?
Do you have a thing for top floor apartments?
Do you have vision?
Do you like light?
Do you love to cook?
Do you love to entertain?
Do you need lots of closet space?
Do you own or plan to buy a car?
Do you prefer simple shaker style wood cabinets with solid surface counters or custom lacquer cabinets paired with a travertine marble?
Do you want a home just steps to the beach?
Do you want Katz Deli, Russ and Daughters or maybe some Economy Candy?
Contact information for all of the brokers is listed on the site in case you’re interested.
In 1994, legendary street fashion photographer Bill Cunningham gave a six-hour interview about his life and work. This interview was recently rediscovered and made into a documentary called The Times of Bill Cunningham. Here’s a trailer:
The movie is out in theaters, but the reviews so far are mixed, especially when compared to the rave reviews received by 2011’s Bill Cunningham New York. Still, Cunningham is a gem and I will watch this at some point soon. (via recs)
New York artist Jason Polan has passed away at the age of 37. The cause was colon cancer. From the NY Times obituary:
Mr. Polan’s signature project for the last decade or so was “Every Person in New York,” in which he set himself the admittedly impossible task of drawing everyone in New York City. He kept a robust blog of those sketches, and by the time he published a book of that title in 2015 — which he envisioned as Vol. 1 — he had drawn more than 30,000 people.
These were not sit-for-a-portrait-style drawings. They were quick sketches of people who often didn’t know they were being sketched, done on the fly, with delightfully unfinished results, as Mr. Polan wrote in the book’s introduction.
“If they are moving fast, the drawing is often very simple,” he wrote. “If they move or get up from a pose, I cannot cheat at all by filling in a leg that had been folded or an arm pointing. This is why some of the people in the drawings might have an extra arm or leg — it had moved while I was drawing them. I think, hope, this makes the drawings better.”
I never met Polan in person — we corresponded via email occasionally, were admirers of each other’s work (I have several of his drawings), and I linked to his stuff sometimes (not enough) — but many of my friends knew him well and are reeling. There was a gentleness, a loving attention, that really came through in his work and in talking with the folks who knew him, that’s the way he was in person too. A kind soul, gone too soon. Rest in peace, Jason.
Jason noticed. This was his thing. The effortlessness with which he could hone in on a person in the endless stream of the city, pick out just one or two details that made them unique and make art of them. People often asked me if I thought he had a photographic memory, and yea, maybe he did, but it wasn’t really the source of his genius. The source, I think, was his bottomless empathy and interest.
In the 1850s, the well-heeled residents of Manhattan were convinced the city needed a grand park like the European capitals had. And so, a park located in the middle of the city was proposed, a Central Park, if you will. The only problem? There were people living in the park’s proposed location, including Seneca village, a small, integrated, predominately black neighborhood.
It’s a story that goes back to the 1820s, when that part of New York was largely open countryside. Soon it became home to about 1,600 people. Among them was a predominantly black community that bought up affordable plots to build homes, churches and a school. It became known as Seneca Village. And when Irish and German immigrants moved in, it became a rare example at the time of an integrated neighborhood.
Filmed during Uncut Gems, Goldman v Silverman is a short film by the Safdie brothers starring Adam Sandler & Benny Safdie as dueling street performers dressed up in metallic paint. In addition to the paint, Sandler has a mask on and doesn’t really talk, so no one in Times Square realizes it’s him. (via gothamist)
It represents ELA’s ongoing effort to draw on all available sources, including thousands of interviews and discussions, to tell the continuing story of the city’s many languages and cultures. The patterns it reveals — the clustering of West African languages in Harlem and the Bronx, a microcosm of the former Soviet Union in south Brooklyn, the multifaceted Asian-language diversity of Queens, to name a few — only hint at the linguistic complexity of a city where a single building or block can host speakers of dozens of languages from across the globe.
The online map embedded in the page works ok, but a $50 donation to the organization will get you a 24″ x 36″ print for your wall.
According to a Gothamist post about the map, the size and diversity of the city sometimes means that a significant chunk of a language’s worldwide speakers live in NYC:
Seke is a language spoken in just a handful of towns in Nepal-worldwide, there are fewer than 700 people who speak it. More than 100 of those people live in Brooklyn and Queens, according to the Endangered Language Alliance, a group that seeks to document and preserve smaller, minority, and Indigenous languages across New York City.
File this under “I Love NYC”. On Sunday night, riders on a Brooklyn-bound L train were treated to a full Thanksgiving dinner, courtesy of some of their fellow straphangers. For more than 20 minutes, a group of riders dined and passed out plates of turkey, collards, stuffing, squash, and mashed potatoes to other folks in the car. Here’s a 21-minute chunk of the action:
They started the meal with a prayer and everything. An onlooker said of the event:
It was a 7 PM Sunday L from union square and was not crowded at all. They said it was an inclusive gesture to emphasize no one should go without food on Thanksgiving. They were loud but not rowdy or a nuisance. They even handed out plates to everyone in the car — I got one and the turkey was a solid 7/10 and collard 8.5/10. I’m glad I got to experience something like this. Makes a great story!
There were even MTA employees amongst us but no one objected.
Here’s a shorter video with some of the highlights:
Using almost 1300 photos from Instagram of iconic/stereotypical shots of NYC, Sam Morrison spent 200 hours creating what he calls a crowdsourced hyperlapse video of the city. I love it. Reminds me a little of the old Microsoft application Photosynth, which could stitch together hundreds of online photos of, say, the Eiffel Tower or Golden Gate Bridge into a composite 3D image. (via a newly resurgent waxy.org)
That’s much of Manhattan, Brooklyn, and Queens captured by Maxar’s Worldview-3 satellite, but at an unusually low angle. Here’s a closer view of the southern tip of Manhattan:
This particular shot is made possible due to the focal length of the camera in this satellite that is roughly 32 times longer than that of a standard DSLR camera.
I don’t know what practical value low-angle satellite photos have, but they sure are beautiful.
Last week, the beloved NYC eating establishment City Bakery closed its doors due to financial troubles.1 Rachel Holliday Smith dug into what happened for The City. It sounds like the company over-expanded, couldn’t get out of the debt it took on, and got into a series of increasingly bad lending situations.
One of those bad deals was borrowing $75,000 from a financial services firm called Kalamata Capital Group and promising to pay back $105,000. That’s a 40% interest rate, firmly in loan shark territory. But this is the bit that really got my eyebrows heading north (especially the bit in italics):
In a statement, the chief operating officer of Kalamata Capital Group, Brandon Laks, said the company “is truly sorry City Bakery decided to close” and stressed that many Kalamata Capital Group employees loved the establishment.
He said KCG made amendments to the funding agreement as City Bakery struggled and “without KCG’s capital and amendments, City Bakery would have closed, and jobs would have been lost, much sooner.”
“Unfortunately, many small businesses close and it is a risk KCG takes when we help fund and support these businesses,” he said.
Let’s be clear here: City Bakery was primarily a place for folks who can afford $5 croissants, but this is one of those instances where capitalism has become deeply disconnected from the people it’s allegedly supposed to benefit. All those KCG employees that loved City Bakery? Meaningless bullshit. A local lender that wants to invest in the community and its businesses doesn’t charge 40% interest. City Bakery needed some solid financial advice, a plan for getting out from under their debt (if possible), and a loan with decent terms. All KCG did was give City Bakery more rope to hang themselves and called it “support”.
Update: A couple people have pointed out that we don’t know the length of the loan and so cannot calculate the annual interest rate. Even so, as the article details, these “merchant cash advance” loans are under increasing scrutiny for being predatory:
As the Duncans soon learned, tens of thousands of contractors, florists, and other small-business owners nationwide were being chewed up by the same legal process. Behind it all was a group of financiers who lend money at interest rates higher than those once demanded by Mafia loan sharks. Rather than breaking legs, these lenders have co-opted New York’s court system and turned it into a high-speed debt-collection machine. Government officials enable the whole scheme. A few are even getting rich doing it.
I was in NYC last week and City Bakery shuttered on the very day I was going to wander over for one of their chocolate chip cookies, my #1 all-time favorite cookie.↩
After months of renovations and a week or two of previews, MoMA officially reopens for business today. I was able to attend a press preview last week and here are some observations I had about my visit.
One of the main goals of the museum’s expansion was to “focus new attention on works by women, Latinos, Asians, African-Americans and other overlooked artists”. I’ll leave the question of their success in more qualified hands, but even making the attempt is an admission by one of the most influential museums in the world that the art that society considers important is highly subjective. If there are good paintings that aren’t currently considered that interesting or important (because they’re not by Picasso or Degas or Cezanne), maybe that can change depending on what stories you tell about them. Look at what the Hilma af Klint show at the Guggenheim did for example.
The display of the main collection is now not just paintings and a sprinkling of sculpture but also includes photography, film, architecture, performance art, design, and drawings. The art is also placed into much more of an historical context than before…the visitor gets more of a sense of what was going on in the world when these pieces were created and what societal happenings the artist may have been reacting to in creating their work. I very much enjoyed these improvements.
The general feel of the place is more casual than before. In Amy Sillman’s Artist’s Choice gallery, paintings and sculptures were resting on risers around a large room, all unlabelled. Gallery titles were sometimes colloquial instead of formal or academic. In the one of the exhibitions, the gallery titles were in all lowercase — “a revolution of limits” vs “A revolution of limits” or “A Revolution of Limits”.
In some areas, the space still smelled vaguely of construction.
One of the things I love about The Whitney is how it incorporates the city into the art viewing experience. On the top floors, you can look at what’s on display and then head out to the terrace to see the city on display: the architecure, the construction, people walking on the High Line, the Hudson River traffic. It doesn’t have the best location to work with, but the new MoMA tries to do this a little more after the renovation. There are new overlooks to the sculpture garden and larger windows with street views.
Was it my imagination, but was Matisse’s Swimming Pool room actually a bit warmer and more humid than the other galleries? You know, like an actual indoor swimming pool?
Honestly, the best part of my experience was how few people were there. This was the last of four press previews and was sparsely attended because most people had already filed their stories. In many galleries, I was completely alone with these amazing works of art. I stood in front of Starry Night for two minutes all by myself — same with Pollock’s One: Number 31, 1950 and Les Demoiselles d’Avignon. Monet’s Water Lillies gallery was empty. Empty! I sat for several blissful minutes taking it all in — it was almost meditative. This reveals a sad truth about large and popular art museums like MoMA: they are often not good places for actually viewing art. They’re just too crowded. Starry Night is basically an Instagram selfie wall at this point. During a normal visit, you can’t actually look at the thing to see what van Gogh was up to with his brushstrokes because there are 20 people waiting their turn to see it too. But you can’t spend $450 million on a renovation and just let a few hundred people a day into the place, right?
This past weekend for a project called VIGIL, artist Jenny Holzer projected texts about the impact and realities of gun violence onto the buildings of Rockefeller Center.
Employing her signature text-based practice, Holzer will project testimonies, responses, and poems by people confronting the everyday reality of gun violence onto the iconic buildings at Rockefeller Center after sundown. These hauntingly sober first-person accounts serve both as an acknowledgement of communities impacted by gun violence and an invitation for dialogue around the prevalence of this issue in the United States. Holzer will feature texts from the compilation Bullets into Bells: Poets & Citizens Respond to Gun Violence, stories from Moments that Survive collected by Everytown for Gun Safety, and poems by teens who have grown up in the shadow of mass shootings.
Great Big Stories has collected five of their video short stories into a collection: 5 True Tales of Manhattan. The stories include a restaurant that serves Cuban-Chinese cuisine, Sunday night jazz concerts in a Harlem apartment, and a woman who rehabs dozens of turtles in her small apartment.
Machine Hallucination, Anadol’s first large-scale installation in New York City is a mixed reality experiment deploying machine learning algorithms on a dataset of over 300 million images — representing a wide-ranging selection of architectural styles and movements — to reveal the hidden connections between these moments in architectural history. As the machine generates a data universe of architectural hallucinations in 1025 dimensions, we can begin to intuitively understand the ways that memory can be spatially experienced and the power of machine intelligence to both simultaneously access and augment our human senses.
Treasures in the Trash is a short film by Nicolas Heller about former NYC sanitation worker Nelson Molina, who started (and still maintains) an unofficial museum of more than 45,000 objects that people have thrown out over the last few decades.
The Downtown Collective is a project by illustrator Kelli Ercolano in which she is drawing & painting all of the NYC cafes, restaurants, and bars she’s fallen in love with. You can check out more of her work and process on Instagram.
This is a short video of a set of subway stairs in Brooklyn where one of the steps is juuuust a bit taller than the rest, which makes most people trip on it.
We don’t often think about it but even the least graceful humans move in a finely calibrated way. When we’re climbing stairs, our feet don’t clear the treads by much, so that even the tiniest deviation in the height of a step can spell trouble.
I’d love to see a study of how quickly our bodies learn how high the steps are in a new flight of stairs. Like, maybe we clear the first couple of steps by an inch or two but then we’re locked in and subsequent clearances are much smaller.
Is there a word for the way people tend to speed up after they trip climbing stairs? The stumble hustle? It’s such a small & endearing little thing that most people do.
My least favorite flight of stairs in the entire NYC subway system are, I believe, at the SW corner of 14th St and 6th Ave in Manhattan. Each of the steps is a different height, making for a tricky ascent and a downright dangerous descent. I keep thinking they’re gonna get fixed, but I used them on my last visit to the city in June. At this point, they’re like an old friend who’s kind of a jerk but you’ve known him so long that whaddya gonna do? (via @fishtopher)
With your support this book will for the first time reveal and re-assemble around ninety drawings made between 1988 and 2018.
Working with the designer Simon Esterson we are producing the book independently and by using Kickstarter we have total control of the design and quality of production, resulting in a beautiful edition — if we reach the target!
I am delighted that the introduction will be by Luc Sante, the brilliant writer and chronicler of cities, known best for Low Life : Lures and Snares of Old New York.
Gothamist recently posted some vintage photos of NYC’s High Line taken by Jake Dobkin back when it was still an abandoned rail line and not an immaculately designed space surrounded by luxury condos. Meg & I snuck up there in Feb 2004 and walked all the way down from 33rd St to the Meatpacking and back again. Here are a few photos I snapped that day:
Using geological surveys, geo-referenced road network data, and historic maps drawn the from the collections of the Library of Congress and New York Public Library, Miles Zhang made this time lapse video of the development of the street grid of NYC from 1609 (when Henry Hudson first explored the area for the Dutch) to the present day.
The resulting short film presents a series of “cartographic snapshots” of the built-up area at intervals of every 20-30 years in the city’s history. This process highlights the organic spurts of growth and movement that typify New York’s and most cities’ development through time. The result is an abstract representation of urbanism.
For almost the first half of Manhattan’s history, walking was the primary means of transport. This preference was manifested in the shorter distances between residential, industrial, shipping, and commercial areas — and more frequently their overlap. With street systems, the reliance on the foot is manifested in narrower streets widths not designed to accommodate greater width from carriages, trolleys, and later cars. In fact, the average width of secondary arterial streets increased from 30 feet for streets opened between 1624-1664, to 45 feet for streets opened 1664-1811, and then a uniform width of 60 feet for any cross street opened after 1811. Later widenings increased many of these smaller and pre-1811 streets to width between 100 and 130 feet. In other words, moving from the older networks in the south to newer networks in the north, the width of streets and size of blocks generally increases. These new widths might be influenced by growing population size from only 25,000 in the 1770s, to 64,000 by 1811, and 247,000 by 1834, thereby requiring wider streets for expanding population and higher buildings.
These gradual changes in planning reflected increasing reliance on carriages and horse-drawn trolleys instead of walking. Each mode of transport required a different minimum street width and was associated with different speeds.
Street photographer Patrick Barr has been out photographing NYC since the 1990s. Barr also goes by the name of Tiger Hood (or Nappy Gilmore) and when he’s out on the street selling prints of his photographs, he passes the time playing a street golf game of his own invention.
It’s a game that requires only three items: a golf club, a newspaper-stuffed milk carton, and a crate. What was initially just a way for Barr to pass time has gained traction from major news outlets and celebrities on a global scale. However, street golf seems to overshadow his true passion… photography. Barr’s archive consists of thousands of mind blowing film photographs of NYC from the 1990’s to 2000’s. His goal was to preserve a time and place that he predicted would dissolve in the coming years. With his archive as evidence, he predicted correctly.
You can find some of Barr’s photos on Flickr and Instagram but if you want to buy a print, you’ll have to catch him on the streets of lower Manhattan.
A recent series of discoveries have upended the widely accepted story of the history of pizza in America and have the NYC food world in a tizzy. The typical origin story of American pizza is this:
In 1905, Gennaro Lombardi applied to the New York City government for the first license to make and sell pizza in this country, at his grocery store on Spring Street in what was then a thriving Italian-American neighborhood.
Of this forgotten older generation, one baker stands out. Filippo Milone came to New York in the late 19th century and likely established two of the most famous New York pizzerias that still exist today, Lombardi’s on Spring Street and John’s of Bleecker Street.
Regas explains, “Filippo Milone likely established pizzerias in at least six locations throughout New York City. Of these locations, three later became famous under different names: ‘Pop’s,’ ‘John’s,’ and ‘Lombardi’s.’ Pop’s in Brooklyn closed decades ago, but the other two in Manhattan still exist. Milone, a pioneer in what has become a $45 billion industry, later died in 1924, without children to preserve his story buried in an unmarked grave in Queens.”
Wow! This 1903 advertisement is for a pizzeria of Milone’s on Grand St.:
As for Lombardi’s founding in 1905, Regas has the receipts for that too:
While proof of that license has never materialized, Regas has tracked down Gennaro Lombardi’s birth record, naturalization papers, and other supporting documents that tell a different story. Gennaro Lombardi first came to America in November of 1904 at age 17, classified as a “laborer”. If he became involved with the pizzeria at 53 1/2 Spring Street in 1905, it was as an employee not as an owner. By that time, it had already been established as a pizzeria probably by Milone in 1898 but certainly by another proprietor named Giovanni Santillo who followed Milone in 1901.
This is as if some other dude we’ve never heard of wrote both the Declaration of Independence and the Federalist Papers and then handed them over to Adams Franklin Jefferson Madison Hamilton etc.
Regas is documenting his research here on an eventual book about all of this, due out sometime later this year. Boy oh boy, they’re gonna have to reprint a lot of NYC pizzeria menus with incorrect origin stories in them… (via @adamkuban)
The “Tolkien: Maker of Middle-earth” exhibition at NYC’s Morgan Library & Museum is “the most extensive public display of original Tolkien material for several generations”. Running from January 25 through May 12, the exhibition includes drafts, drawings, maps, and memorabilia related to J.R.R. Tolkien’s books, including hand-drawn maps done by Tolkien of Middle-earth.
I’m totally going to this the next time I’m in NYC.
Update: Note to those who are heading to exhibition: cosplaying your favorite LoTR character at the Morgan Library is totally permissible.
But all Gimlis, Legolases, and Gandalfs, leave your weaponry at home. (via @arbesman)
One of the most popular recurring features on Gothamist is Jake Dobkin’s “Ask A Native New Yorker” column (which I’ve mentioned here morethanonce). In the column, Dobkin gives advice related to NYC issues like cycling in the city, dealing with problematic roommates, coping with bedbugs, and strangers sitting on your stoop.
The book version features all original writing and aims to help newbies evolve into real New Yorkers with humor and a command of the facts. In 48 short essays and 11 sidebars, the book offers practical information about transportation, apartment hunting, and even cultivating relationships for anyone fresh to the Big Apple. Subjects include “Why is New York the greatest city in the world?,” “Where should I live?,” “Where do you find peace and quiet when you feel overwhelmed?,” and “Who do I have to give up my subway seat to?” Part philosophy, part anecdote collection, and part no-nonsense guide, Ask a Native New Yorker will become the default gift for transplants to New York, whether they’re here for internships, college, or starting a new job.
From directors Molly Brass and Stephen Tyler, this is a really lovely & poignant short film about Chess Forum and its owner, Imad Khachan, a Palestinian refugee who came to America to get a PhD in American literature and ended up as the owner/operator of a classic NYC establishment.
Anybody who doesn’t speak any language or different languages, they can sit here and play chess. You can still hold a meaningful conversation without saying a word.
After an ownership agreement between Khachan and a former business mentor fell to pieces, Khachan opened the Chess Forum directly across the street from his former partner’s shop, The Chess Shop. His move triggered what, in New York chess circles, is still known as the Civil War on Thompson Street.
“Sometimes attack is the best defense,” Khachan said of his decision.
His move tore New York’s tight-knit chess community in two. A ceasefire eventually settled in, with each shop courting its own customers and suppliers. His business rival closed in 2012, but the feud taught Khachan a lesson as strong as any he learned on the board.
“Like any chess game it’s the thinking ahead that keeps you one step ahead of the guy who’s shooting after you and not hitting you,” he said. “You have to keep moving.”
Our analysis provides new evidence that even simple turn-based games contain a great deal of interaction richness and subtlety, and that the different levels of communication should be considered by designers as a real and legitimate vehicle for social interaction.
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