images
What the painting was not about
The past of his image upon me
Mere retinal art
The eye does not see
The Gosling Effect
Apparency
Half a century ago, Stern discussed this attribute of an artistic object and called it apparency. While art is not limited to this single end, he felt that one of its two basic functions was "to create images which by clarity and harmony of form fulfill the need for vividly comprehensible appearance." In his mind, this was an essential first step toward the expression of inner meaning.
As plain as day
The personal experience of most of us will testify to this persistence of an illusory image long after its inadequacy is conceptually realized. We stare into the jungle and see only the sunlight on the green leaves, but a warning noise tells us that an animal is hidden there. The observer then learns to interpret the scene by singling out "give-away" clues and by reweighting previous signals. The camouflaged animal may now be picked up by the reflection of its eyes. Finally by repeated experience the entire pattern of perception is changed, and the observer need no longer consciously search for give-aways, or add new data to an old framework. They have achieved an image which will operate successfully in the new situation, seeming natural and right. Quite suddenly the hidden animal appears among the leaves, "as plain as day."
The language of art
Everything points to the conclusion that the phrase 'the language of art' is more than a loose metaphor, that even to describe the visible world in images we need a developed system of schemata.
Words and Images
An Essay by René Magritte
The ABC's of ▲■●: The Bauhaus and Design Theory
The cultivation of inherent faculties
Rousseau’s Emile argued that education is the cultivation of inherent faculties, rather than the imposition of knowledge. Taking this path, Pestalozzi recast the teacher as a protective figure who follows and stimulates the child’s inherent intelligence.
The basic course
The Basic Course was a general introduction to composition, color, materials, and three-dimensional form that familiarized students with techniques, concepts, and formal relationships considered fundamental to all visual expression, whether it be sculpture, metal work, painting, or lettering. The Basic Course developed an abstract and abstracting visual language that would provide a theoretical and practical basis for any artistic endeavor.
It is a little world
See how many a pretty thing
I always from the cube can bring:
Chair and sofa, bench and table,
Desk to write at when I’m able,
All the household furniture,
Even baby’s bed I’m sure;
Not a few such things I see;
Stove and sideboard here can be.
Many things, both old and new,
My dear cube brings into view;
So my cube much pleases me,
Because through it so much I see.
It is a little world.- Cubed
A universal correspondence
In 1923 Kandinsky proposed a universal correspondence between the three elementary shapes and the three primary colors: the dynamic triangle is inherently yellow, the static square is intrinsically red, and the serene circle is naturally blue.
The series ▲■● represents Kandinsky’s attempt to prove a universal correlation between color and geometry; it has become one of the most famous icons of the Bauhaus. Kandinsky conceived of these colors and shapes as a series of oppositions: yellow and blue represent the extremes of hot/cold, light/dark, and active/passive, while red is the intermediary between them. The triangle, square, and circle are graphic equivalents of the same polarities.
The arbitrariness of the sign
A key difference between verbal language and the modernist ideal of a visual “language” is the arbitrariness of a verbal sign, which has no natural, inherent relationship to the concept it represents. The sound of the word “horse”, for example, does not innately resemble the concept of a horse. Ferdinand de Saussure called this arbitrariness the fundamental feature of the verbal sign. The meaning of a sign is generated by its relationship to other signs in the language: the sign’s legibility lies in its difference from other signs.
Reduced to an act of selection
“The more exact and complete the criteria are, the more creative the work becomes. The creative act is reduced to an act of selection.”
— Karl Gerstner, Designing Programmes (1963)
Separation of surface and structure
The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Gifts and occupations
Between 1835 and 1850 Froebel worked on his “Gifts and Occupations” — a set of geometric blocks (Gifts) and basic craft activities (Occupations), that would become the centerpiece of his pedagogical theory. The Gifts and Occupations were introduced in a highly ordered sequence, which began in the child’s second month and concluded in the last year of kindergarten.
Typographic grid
Just one of many examples of beautiful typography and layout throughout the book. Love the page design.