Yanagi Sōetsu
What is Pattern?
Handicrafts and Sesshu
Okinawa's Bashofu
A Painted Karatsu as Food for Thought
Recently there is a tendency to pursue distortion in art, but in the case of this jar, natural deformation has raised distortion to the level of spontaneous beauty.
Woodblock Prints
An Essay from The Beauty of Everyday Things by Yanagi SōetsuIt seems to me that many printmakers are suffering under a delusion. Looking at current trends, it appears that recent prints are simply copying fine art and painting. Some printmakers are working in the nanga style of painting. Others are attempting to reproduce the effects of oil. Some cleverly contrived prints are often difficult to distinguish from paintings done with a brush. The question arises: Why are these printmakers working in the medium of woodblock printing at all?
For prints to follow in the footsteps of painting has very little meaning. The art of the brush and palette should be left to the brush and palette.
Seeing and Knowing
An Essay from The Beauty of Everyday Things by Yanagi SōetsuThe results of intuition can be studied by the intellect, but the intellect cannot give birth to intuition.
The Japanese Perspective
An Essay from The Beauty of Everyday Things by Yanagi SōetsuGenerally speaking, the Western perception of art has its roots in Greece. For a long time its goal was perfection, which is particularly noticeable in Greek sculpture. This was in keeping with Western scientific thinking; there are no painters like Andrea Mantegna in the East. I am tempted to call such art ‘the art of even numbers’.
In contrast to this, what the Japanese eye sought was the beauty of imperfection, which I would call ‘the art of odd numbers’. No other country has pursued the art of imperfection as eagerly as Japan.
The Beauty of Kasuri
An Essay from The Beauty of Everyday Things by Yanagi SōetsuThe Characteristics of Kogin
An Essay from The Beauty of Everyday Things by Yanagi SōetsuThe Beauty of Miscellaneous Things
An Essay from The Beauty of Everyday Things by Yanagi SōetsuWashi
An Essay from The Beauty of Everyday Things by Yanagi SōetsuHandmade washi (traditional Japanese paper) is replete with appeal. Looking at it, touching it, fills me with an indescribable sense of satisfaction. The more beautiful it is, however, the more difficult it is to put to use. Only a master of calligraphy could possibly add to its beauty; it is exquisite just as it is. This is wonderfully strange, for it is merely a simple material. Yet plain and undecorated as it is, it is alive with nuanced beauty. Good washi makes possible our most ambitious creative dreams.
What is Folk Craft?
An Essay from The Beauty of Everyday Things by Yanagi Sōetsu
The Right Tools for the Job
Tool-building is an essential but poorly incentivized component of academic geography and social science more broadly. To conduct better science, we need to
build better tools.
A representational tension
Do I need to know the precise polygonal geometries of Los Angeles and the University of Southern California to assert that the latter is within the former? No. My mind contains no such precise geometric model of points and lines, yet I know that USC is in Los Angeles. When humans reason with the real world, they focus on its objects, relations, and processes—rather than starting with geometry—because these are the keys to understanding and explaining the real world. Our GIS tools, however, usually do the opposite. Built from the geometry-up around the legacy logic of traditional cartography (geometries and layers), most GIS tools today are restricted by that legacy’s limited ability to model objects, relations, and processes. A representational tension thus exists in GIScience between being a geometric information science versus an ontological, relational, and processual information science.
The teleology of tool-building
The teleology of tool-building suggests that the real value lies in the end use of the tool, rather than in its origins
Urban form and grain
One square mile of different cities' street networks, held at the same scale to compare the urban form and grain.
Software often feels inevitable
Software often feels inevitable because its backstory is often invisible. We click a download link, run an installer, and suddenly have a new tool to use. Yet this conceals years of human decisions, experiences, and constraints shaping software outcomes that are in no way pre-destined.