The five dimensions of curiosity An Essay by Todd Kashdan www.psychologytoday.com Joyous Exploration. This is the prototype of curiosity—the recognition and desire to seek out new knowledge and information, and the subsequent joy of learning and growing. Deprivation Sensitivity. This dimension has a distinct emotional tone, with anxiety and tension being more prominent than joy—pondering abstract or complex ideas, trying to solve problems, and seeking to reduce gaps in knowledge. Stress Tolerance. This dimension is about the willingness to embrace the doubt, confusion, anxiety, and other forms of distress that arise from exploring new, unexpected, complex, mysterious, or obscure events. Social Curiosity. Wanting to know what other people are thinking and doing by observing, talking, or listening in to conversations. Thrill Seeking. The willingness to take physical, social, and financial risks to acquire varied, complex, and intense experiences. curiosity
Phenomenal: An Introduction An Essay from Phenomenal: California Light, Space, Surface by Robin Clark Aesthetic palate cleansingUntitled (Light Canvas)Little Blank Riding HoodNot intended to be read until you have seenA vaporous middle-world+5 More
Aesthetic palate cleansing During the 1960s and 1970s, light became the primary medium for a loosely affiliated group of artists working in Greater Los Angeles who were more intrigued by questions of perception than by the notion of crafting discrete objects. ...Often with modest means (a bolt of scrim, a sheet of glass, a bucket of resin, an open window) these artists engaged in a kind of aesthetic palate cleansing, shaking off the art-historical weight and heavy impasto of midcentury painting as it had been influentially practiced in New York and San Francisco. aestheticsmaterial
Not intended to be read until you have seen This is not a catalogue because there is no list of works. The exhibition will comprise three spaces in which three artists will have made their art. At the moment of writing we are not sure exactly what they will do—and we cannot know how what they do will appear to us. Therefore we cannot attempt to help you perceive it. So this is also not truly an introduction to the art. It is not intended to be read until you have seen the exhibition. Michael Compton perceptionseeing
A vaporous middle-world In between these two extremes is a room with three constructions by Robert Irwin. These can be read as individual works of art but their function here is primarily that of creating a climate of fastidious ambiguity. Light turns into a new kind of material; new kinds of material are fused into light; a vaporous middle-world stands midway between total black (Bell) and total white (Wheeler) light