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"Untangling: How You Can Transform What's Impossibly Stuck" is a self-help manual by Barbara McGavin and Ann Weiser Cornell that offers a comprehensive diagnosis of the problems that can cause people to feel stuck in their lives. The authors provide remedies and techniques for unburdening oneself from past baggage and harnessing one's full potential. Drawing from Eugene Gendlin's Focusing, the book explores key concepts such as "getting a felt-sense" and "Self-in-Presence," which may be challenging to understand at times. However, McGavin and Cornell's personal stories and clear analogies help ground the book's ideas. The volume of actionable information provided makes it a valuable resource for readers seeking personal healing and growth. [Extracted from the article]

Parent only cursorily used hard-edged tools like the triangle or ruler to outline a drawing, but otherwise built his oblique visions in textures penciled without lifting the pencil tip from the paper. Against this fortress of rationalism, the oblique had an uphill battle, which Parent waged, counterintuitively, with a pencil trained in traditional drawing techniques. BACK IN 1963, French cultural theorist Paul Virilio called Parisian architect Claude Parent's attention to a vertiginous spatial experience he had encountered in a World War II German bunker that had surfed down an embankment onto a beach in France. [Extracted from the article]

The article focuses on an architectural drawing as an essential element in architecture and the ways in which it has been taken for granted. The article discusses architects who favor renderings to the actual building such as Peter Eisenman and Aldo Rossi, the lost popularity of drawing in favor of more advanced technology such as the photomontage during the Modern Movement of architecture and the achievements of architect Richard Neutra as a draughtsman.

This article profiles architect Michael Lehrer, who has been trying to incorporate the skills and attributes of painting into his work. Lehrer has been hosting bimonthly life-drawing classes in his office. In addition to capturing the human figure with watercolor and charcoal, Lehrer also embodies the model's form in what he calls a 3D drawing.