1. ⁘  ⁘  ⁘
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  11. Anderson, Gretchen 7
  12. anxiety 9
  13. Appleton, Maggie 5
  14. Aptekar-Cassels, Wesley 5
  15. Arango, Jorge 4
  16. architecture 110
  17. art 86
  18. Asimov, Isaac 5
  19. attention 17
  20. Auping, Michael 6
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  22. Bachelard, Gaston 12
  23. Baker, Nicholson 10
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  25. Behrensmeyer, Anna K. 7
  26. Bjarnason, Baldur 8
  27. Blake, William 5
  28. blogging 22
  29. body 11
  30. Boeing, Geoff 7
  31. boredom 9
  32. Botton, Alain de 38
  33. Brand, Stewart 4
  34. Bringhurst, Robert 16
  35. Brooks, Frederick P. 22
  36. Broskoski, Charles 6
  37. brutalism 7
  38. building 16
  39. bureaucracy 12
  40. Burnham, Bo 9
  41. business 15
  42. Byron, Lord 14
  43. Cagan, Marty 8
  44. Calvino, Italo 21
  45. Camus, Albert 13
  46. care 6
  47. Carruth, Shane 15
  48. Cegłowski, Maciej 6
  49. Cervantes, Miguel de 7
  50. chance 11
  51. change 16
  52. Chiang, Ted 4
  53. childhood 6
  54. Chimero, Frank 17
  55. choice 8
  56. cities 51
  57. Clark, Robin 3
  58. Cleary, Thomas 8
  59. Cleary, J.C. 8
  60. code 20
  61. collaboration 18
  62. collections 31
  63. color 23
  64. commonplace 11
  65. communication 31
  66. community 7
  67. complexity 11
  68. connection 24
  69. constraints 25
  70. construction 9
  71. content 9
  72. Corbusier, Le 13
  73. Coyier, Chris 4
  74. craft 66
  75. creativity 59
  76. crime 9
  77. Critchlow, Tom 5
  78. critique 10
  79. Cross, Nigel 12
  80. Cross, Anita Clayburn 10
  81. css 11
  82. culture 13
  83. curiosity 11
  84. cycles 7
  85. Danielewski, Mark Z. 4
  86. darkness 28
  87. Darwin, Will 10
  88. data 8
  89. death 38
  90. Debord, Guy 6
  91. decisions 10
  92. design 131
  93. details 31
  94. Dickinson, Emily 9
  95. Dieste, Eladio 4
  96. discovery 9
  97. doors 7
  98. Dorn, Brandon 11
  99. drawing 23
  100. Drucker, Peter F. 15
  101. Duany, Andres 18
  102. Eatock, Daniel 4
  103. economics 13
  104. efficiency 7
  105. Eisenman, Peter 8
  106. Eliot, T.S. 14
  107. emotion 8
  108. ending 14
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  110. Eno, Brian 4
  111. ethics 14
  112. euphony 38
  113. Evans, Benedict 4
  114. evolution 9
  115. experience 14
  116. farming 8
  117. fashion 11
  118. features 25
  119. feedback 6
  120. flaws 10
  121. Flexner, Abraham 8
  122. food 16
  123. form 19
  124. Fowler, Martin 4
  125. Franklin, Ursula M. 30
  126. friendship 6
  127. fun 7
  128. function 31
  129. games 13
  130. gardens 26
  131. Garfield, Emily 4
  132. Garfunkel, Art 6
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  134. geometry 18
  135. goals 9
  136. Gombrich, E. H. 4
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  138. Graham, Paul 37
  139. graphics 13
  140. Greene, Erick 6
  141. Hamming, Richard 45
  142. happiness 17
  143. Harford, Tim 4
  144. Harper, Thomas J. 15
  145. Hayes, Brian 28
  146. heat 7
  147. Heinrich, Bernd 7
  148. Herbert, Frank 4
  149. Heschong, Lisa 27
  150. Hesse, Herman 6
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  152. Hoffman, Yoel 10
  153. Hofstadter, Douglas 6
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  156. Hoyt, Ben 5
  157. html 11
  158. Hudlow, Gandalf 4
  159. humanity 16
  160. humor 6
  161. Huxley, Aldous 7
  162. hypermedia 22
  163. i 18
  164. ideas 21
  165. identity 33
  166. images 10
  167. industry 9
  168. information 42
  169. infrastructure 17
  170. innovation 15
  171. interaction 10
  172. interest 10
  173. interfaces 37
  174. intuition 8
  175. invention 10
  176. Irwin, Robert 65
  177. Isaacson, Walter 28
  178. Ishikawa, Sara 33
  179. iteration 13
  180. Ive, Jonathan 6
  181. Jackson, Steven J. 14
  182. Jacobs, Jane 54
  183. Jacobs, Alan 5
  184. Jobs, Steve 20
  185. Jones, Nick 5
  186. Kahn, Louis 4
  187. Kakuzō, Okakura 23
  188. Kaufman, Kenn 4
  189. Keith, Jeremy 6
  190. Keller, Jenny 10
  191. Keqin, Yuanwu 8
  192. Ketheswaran, Pirijan 6
  193. Kingdon, Jonathan 5
  194. Kitching, Roger 7
  195. Klein, Laura 4
  196. Kleon, Austin 13
  197. Klinkenborg, Verlyn 24
  198. Klyn, Dan 20
  199. knowledge 29
  200. Kohlstedt, Kurt 12
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  202. Krishna, Golden 10
  203. Kuma, Kengo 18
  204. language 20
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  206. life 59
  207. light 31
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  212. Luu, Dan 8
  213. Lynch, Kevin 12
  214. MacIver, David R. 8
  215. MacWright, Tom 5
  216. Magnus, Margaret 12
  217. making 77
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  219. Manaugh, Geoff 27
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  222. material 39
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  224. McCarter, Robert 21
  225. meaning 33
  226. media 16
  227. melancholy 52
  228. memory 29
  229. metaphor 10
  230. metrics 19
  231. microsites 49
  232. Miller, J. Abbott 10
  233. Mills, C. Wright 9
  234. minimalism 10
  235. Miyazaki, Hayao 30
  236. Mod, Craig 15
  237. modularity 6
  238. Mollison, Bill 31
  239. morality 8
  240. Murakami, Haruki 21
  241. music 16
  242. Müller, Boris 7
  243. Naka, Toshiharu 8
  244. names 11
  245. Naskrecki, Piotr 5
  246. nature 51
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  249. Noessel, Christopher 7
  250. notetaking 35
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  256. Ott, Matthias 4
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  258. Pallasmaa, Juhani 41
  259. Palmer, John 8
  260. patterns 11
  261. Patton, James L. 9
  262. Pawson, John 21
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  326. Smith, Cyril Stanley 29
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Art

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  • Doing nothing with precision

    For his part, Gehry has noted in defense of his recent museum extravaganzas: "artists want to be in an important building, not a neutral one." At Dia:Beacon, Irwin pursued the opposite logic. As Govan has pointed out: "The money was spent to make it look like nothing was done to the building." Or, as a partner from Open Office observes: "We talked often about the idea of doing nothing with precision. Do it right and they'll never know we were here." As one critic has written, what the result showed was, as he puts it, "Irwin's unwavering conviction that museum spaces should serve the art and not the other way around."

    Matthew Simms, Robert Irwin: A Conditional Art
    • space
    • architecture
    • art
    • design
  • The work is what it means

    It is desirable to bear in mind—when dealing with the human maker at any rate—that his chosen way of revelation is through his works. To persist in asking, as so many of us do, “What did you mean by this book?” is to invite bafflement: the book itself is what the writer means.

    Dorothy Sayers, The Mind of the Maker
    1. ​​The meaning of music​​
    2. ​​No more than a sketch​​
    3. ​​On 'The Master and His Emissary'​​
    4. ​​Only a mind opened to the quality of things​​
    5. ​​Translation is always a treason​​
    • meaning
    • art
  • The object of art

    The object of art may be to seek the elimination of the necessity of it.

    Robert Irwin, James Turrell & Ed Wortz, Report on the Art and Technology Program of the Los Angeles County Museum of Art, 1967–1971
    • art
  • Seeing Is Forgetting the Name of the Thing One Sees

    A Book by Lawrence Wechler & Robert Irwin
    lawrenceweschler.com
    1. ​​Sonorisms I​​
    2. ​​More than just a machine that runs along​​
    3. ​​Nobody was doing anything​​
    4. ​​NYLA​​
    5. ​​Aggressively Zen​​
    1. ​​The Small Group​​
    2. ​​Infinite varieties of contexts​​
    3. ​​Your only language is vision​​
    4. ​​To see is to forget the name of the thing one sees​​
    5. ​​Robert Irwin: A Conditional Art​​
    6. ​​The Finish Fetish Artists​​
    7. ​​Phenomenal: California Light, Space, Surface​​
    • art
    • life
    • craft
    • seeing
  • Isometry

    A Website by Nick Trombley
    isometry.netlify.app
    Screenshot of isometry.netlify.app on 2020-08-26 at 2.26.28 PM.png
    1. ​​The doctrine of salvation by blocks​​
    2. ​​Ad Reinhardt​​
    3. ​​Untitled Procreate Sketch #1​​
    4. ​​13. Ulam's Staircase​​
    5. ​​12. Rule Thirty​​
    1. ​​Cityspace series​​
    2. ​​Plus Equals #4​​
    3. ​​Little Blank Riding Hood​​
    • geometry
    • art
    • drawing
    • microsites
  • What the masters had chosen

    The tea master, Kobori-Enshiu, himself a daimyo, has left to us these memorable words: "Approach a great painting as thou wouldst approach a great prince." In order to understand a masterpiece, you must lay yourself low before it and await with bated breath its least utterance. An eminent Sung critic once made a charming confession. Said he: "In my young days I praised the master whose pictures I liked, but as my judgment matured I praised myself for liking what the masters had chosen to have me like."

    Okakura Kakuzō, The Book of Tea
    • art
  • In a state of reverberation

    Irwin's terms of sudden, physical realization – bam! – call to mind the suddenly enlightening Zen slap or rap on the forehead. It also calls to mind [Philip Guston]'s own remark..."Look at any inspired painting...it's like a gong sounding; it puts you in a state of reverberation." Reverberation is another way of suggesting a kind of sudden, energetic, physical experience.

    Philip Guston, Robert Irwin: A Conditional Art
    1. ​​I have pacified your mind​​
    2. ​​It's dark outside​​
    3. ​​Scraps of the brocade of autumn​​
    • zen
    • art
    • understanding
  • The idea grows as they work

    As they work, the experience of the material under the artist's fingers subtly interacts with the idea in their mind to give the finished work some quality that was rarely fully anticipated. A few artists seem to have such a feeling for their materials that the prevision needs little modification; most say that the idea grows as they work experimentally.

    Cyril Stanley Smith, A Search for Structure
    1. ​​On Greatness​​
    2. ​​The situation talks back​​
    3. ​​The discoveries you make in the making​​
    4. ​​When I was 22​​
    • craft
    • material
    • art
  • Follow the brush

    One of the oldest and most deeply ingrained of Japanese attitudes to literary style holds that obvious structure is contrivance, that too orderly an exposition falsifies the ruminations of the heart, that the truest representation of the searching mind is just to 'follow the brush.'

    Jun'ichirō Tanizaki & Thomas J. Harper, In Praise of Shadows
    1. ​​The Age of the Essay​​
    2. ​​Game feel​​
    • writing
    • art
    • making

    From Thomas J. Harper's afterword.

  • The differences in intentionality

    [Marc] Treib summarized Irwin's views on conditional art as follows: "One does not start with a personal vocabulary or manner to be adapter to each situation. Thus, given the differences in intentionality between art and design, the artist and the designer will 'plow different furrows seemingly in the same field.'" This is an important point since it gets at the difference that Irwin sees between art and design, the first of which is predicated, as he says, on the opportunity to deal with each situation freely and without constraints, and the latter, which is restricted in many ways from the outset by functional, stylistic, and economic concerns.

    Matthew Simms, Robert Irwin: A Conditional Art
    • constraints
    • art
    • design
  • Art as art

    If modern painting is "art as art," this means, to paraphrase Reinhardt, that is represents nothing and exists only in and for itself. If this has created an "art language, with an art communication," this is because this kind of art has implied all along a form of intimate contact with its viewer, in which the viewing of "art as art" becomes "sensation as sensation" or "perception as perception." This distinguishes "modern painting" from representational painting, which exhibits duality, that is, it uses imagery to refer to "past experiences and feeling," and to "color and reconstruct in the mind" associations that are meaningful, but that take the viewer far away from the specifics of the encounter with the painting before them.

    Matthew Simms, Robert Irwin: A Conditional Art
    • modernism
    • art
    • senses
    • perception
  • The core assertion

    Sitting there in the Whitney's coffee shop, Irwin pointed through the glass wall up at the play of shadows on a building facade across the street. "That the light strikes a certain wall at a particular time of day in a particular way and it's beautiful," he commented, "that, as far as I'm concerned, now fits all my criteria for art."

    At the terminus of Irwin's trajectory, when all the nonessentials had been stripped away, came the core assertion that aesthetic perception itself was the pure subject of art. Art existed not in objects but in a way of seeing.

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    1. ​​The Gifted Listener: Composer Aaron Copland on Honing Your Talent for Listening to Music​​
    • beauty
    • art
  • Your only language is vision

    To see with fresh, uninstructed eyes and an open mind requires a deliberate, self-aware act by the observer. Abstract artworks represent themselves and should be first viewed for themselves. When looking at outdoor abstract pieces, concentrate initially on the unique optical experience produced by the artworks. See as the artist saw when making the piece.

    A focus on optical experience does not deny stories, it postpones them. Viewing an artwork may evoke interesting narratives – or just tedious artchat recalling similar art or artists, concocting playful tales, realizing how scrap metal was repurposed into art, making judgments about the artist's intentions or character, or contemplating an artwork's provenance, price, politics. Let the artwork stand on its own. Walk around fast and slow, be still, look and see from up down sideways close afar above below, enjoy the multiplicity of silhouettes shadows dapples clouds airspaces sun earth glowing. Your only language is vision.

    Edward Tufte, Seeing With Fresh Eyes
    1. ​​Seeing Is Forgetting the Name of the Thing One Sees​​
    2. ​​Learning to See​​
    • seeing
    • art
    • perception
  • Concrete poetry

    Image from en.m.wikipedia.org on 2020-08-16 at 2.19.56 PM.jpeg

    Concrete poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance.

    Wikipedia
    en.m.wikipedia.org
    1. ​​House of Leaves​​
    2. ​​Sleepers​​
    3. ​​If we were allowed to visit​​
    4. ​​Il Pleut​​
    5. ​​Sentences and words do not exist by themselves​​
    6. ​​Zong!​​
    • art
  • We might as well make them beautiful

    The Macintosh team came to share Jobs's passion for making a great product, not just a profitable one. "Jobs thought of himself as an artist, and he encouraged the design team to think of ourselves that way too," said Hertzfeld. "The goal was never to beat the competition, or even to make a lot of money. It was the do the greatest thing possible, or even a little greater." He once took the team to see an exhibit of Tiffany glass at the Metropolitan Museum in Manhattan because he believed they could learn from Louis Tiffany's example of creating great art that could be mass-produced. Recalled Bud Tribble, "We said to ourselves, 'Hey, if we're going to make things in our lives, we might as well make them beautiful.'"

    Walter Isaacson, Steve Jobs
    1. ​​Useless work on useful things​​
    2. ​​Such an unholy alliance​​
    • art
    • perfection
  • Live your ten years

    Artists are only creative for 10 years...we engineers are no different. Live your 10 years to the full.

    Hayao Miyazaki, The Wind Rises
    • creativity
    • art
    • engineering
  • I mix it with two in my thought

    It is the artist who, more than other men, is able to create something out of nothing. A whole artistic work is immeasurably more than the sum of its parts.

    “I mix it with two in my thought”; this is the statement of the fact of universal experience that the work of art has real existence apart from its translation into material form.

    Dorothy Sayers, The Mind of the Maker
    1. ​​The design concept​​
    • art
  • The job of art is to chase ugliness away

    Bono later explained that not all corporate sponsorships were deals with the devil.

    The 'devil' here is a bunch of creative minds, more creative than a lot of people in rock bands. The lead singer is Steve Jobs. These men have helped design the most beautiful art object in music culture since the electric guitar. That's the iPod. The job of art is to chase ugliness away.

    Bono, Steve Jobs
    • art
    • music
  • Art is the one medium in which one cannot lie successfully

    When we build, say, a business area in which all (or practically all) are engaged in earning their livings, or a residential area in which everyone is deep in the demands of domesticity, or a shopping area dedicated to the exchange of cash and commodities—in short, where the pattern of human activity contains only one element, it is impossible for the architecture to achieve a convincing variety—convincing of the known facts of human variation. The designer may vary color, texture and form until his drawing instruments buckle under the strain, proving once more that art is the one medium in which one cannot lie successfully.

    Jane Jacobs, The Death and Life of Great American Cities
    • art
    • truth
    • lies
    • media
  • A Painted Karatsu as Food for Thought

    Screen Shot 2020-12-28 at 4_42_50 PM.png

    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.

    Yanagi Sōetsu, The Beauty of Everyday Things
    • art
    • beauty
    • imperfections
  • The deeper unconscious intentions

    Some time ago, a friend insisted that people should not listen to practicing architects or read what they write. According to him, the lack of logic in our discourse, the incongruity of our words, and the overzealousness in readings brought about by the biographical revision of our work were of little value.

    In his book The Eyes of the Skin, Juhani Pallasmaa approaches it from the opposite direction, but ultimately gives the same advice:

    The verbal statements of artists and architects should not usually be taken at their face value, as they often merely represent a conscious surface rationalization, or defense, that may well be in sharp contradiction to the deeper unconscious intentions giving the work its very life force.

    Smiljan Radić, No Objection to the Moon...
    1. ​​The Eyes of the Skin: Architecture and the Senses​​
    • design
    • art
  • No ordinary objects

    Abandoned by the world, no longer of use, but still carefully repaired and preserved, these were no ordinary objects. The reasons for their maintenance remain a mystery. At this point, they could only be described as "art". No—not so much "art" as something that exceeds art...

    Hyperart.

    Genpei Akasegawa & Matt Fargo, Hyperart: Thomasson
    • art
    • repair
    • thomassons
    • objects
  • We want you to work with an artist

    Normally after the design was built, you would find places for the art to be located and then you would go out and select the artist that you wanted. That is historically, the traditional way to go.

    But this time, someone else was calling the shots. A planning official, basically, who comes along and says, “We want you guys to work with an artist.” And the architects are like, “Sure of course.” But then the official goes—“No, you don’t quite understand. We want you to use an artist as a co-equal member of the design team.” That is, the artists are going to have just as much control as the architects. It was really unheard of.

    Some Other Sign that People Do Not Totally Regret Life
    99percentinvisible.org
    1. ​​It passes by the river​​
    • art
    • collaboration
  • A great painting has to be better than it has to be

    This sounds like a paradox, but a great painting has to be better than it has to be. For example, when Leonardo painted the portrait of Ginevra de Benci in the National Gallery, he put a juniper bush behind her head. In it he carefully painted each individual leaf. Many painters might have thought, this is just something to put in the background to frame her head. No one will look that closely at it.

    Not Leonardo. How hard he worked on part of a painting didn't depend at all on how closely he expected anyone to look at it. He was like Michael Jordan. Relentless.

    Relentlessness wins because, in the aggregate, unseen details become visible. When people walk by the portrait of Ginevra de Benci, their attention is often immediately arrested by it, even before they look at the label and notice that it says Leonardo da Vinci. All those unseen details combine to produce something that's just stunning, like a thousand barely audible voices all singing in tune.

    Great software, likewise, requires a fanatical devotion to beauty. If you look inside good software, you find that parts no one is ever supposed to see are beautiful too.

    Paul Graham, Hackers and Painters
    1. ​​All the way through​​
    • art
    • software
    • craft
  • A city cannot be a work of art

    There is a basic esthetic limitation on what can be done with cities: A city cannot be a work of art.

    Jane Jacobs, The Death and Life of Great American Cities
    1. ​​The order of life​​
    • art
    • cities
  • Truchet Tiles

    Image from en.wikipedia.org on 2020-08-27 at 11.13.41 AM.png

    Truchet tiles are square tiles decorated with patterns that are not rotationally symmetric. When placed in a square tiling of the plane, they can form varied patterns, and the orientation of each tile can be used to visualize information associated with the tile's position within the tiling.

    Wikipedia
    en.wikipedia.org
    1. ​​The Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy​​
    2. ​​Wang tiles​​
    • graphics
    • art
  • The basic course

    IMG_1197.HEIC

    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.

    Ellen Lupton & J. Abbott Miller, The ABC's of ▲■●: The Bauhaus and Design Theory
    • learning
    • graphics
    • art
  • The senses of form and tone

    Man painted and danced long before he learned to write and construct. The senses of form and tone are his primordial heritage.

    Sibyl Moholy-Nagy, Pedagogical Sketchbook
    • art
    • form
    • dance
  • It cannot be taught in words

    How to be a great painter cannot be taught in words; one learns by trying many different approaches that seem to surround the subject. Art teachers usually let the advanced student paint, and then make suggestions on how they would have done it, or what might also be tried, more or less as the points arise in the student’s head—which is where the learning is supposed to occur!

    Richard Hamming, The Art of Doing Science and Engineering: Learning to Learn
    • teaching
    • art
  • The quality of the day

    It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.

    Henry David Thoreau, Walden
    1. ​​Suburban Nation​​
    • ux
    • art
    • morality
    • beauty
  • Erased de Kooning Drawing

    Erased de Kooning Drawing

    Once, Robert Rauschenberg erased most of a drawing by Willem de Kooning, and then named it Erased de Kooning Drawing.

    I am in no way certain what this is connected to either, but I suspect it is connected to more than I once believed it to be connected to.

    David Markson, Wittgenstein's Mistress
    • art
    • connection
    • emptiness
  • Fine arts and decorative arts

    The fine arts are conscious and essentially individual in tradition.

    The quantitative and economic aspects of the decorative arts, on the other hand, make them intrinsically repetitive. Because of this, their aesthetic qualities have a very intimate relationship to the technology of materials, and their design is thereby basically affected.

    In addition to the qualitative need for repetitive detail in design, the decorative arts have a quantitative requirement, namely the imperative of covering large areas or making large numbers of individual objects.

    Cyril Stanley Smith, A Search for Structure
    • art
    • ornament
  • I would want to be in that darkness

    If there were a part of life dark enough to keep out of it a light from art, I would want to be in that darkness, fumbling around if necessary, but alive.

    And I rather think that contemporary music would be there in the dark too, bumping into things, knocking others over and in general adding to the disorder that characterizes life (if it is opposed to art) rather than adding to the order and stabilized truth beauty and power that characterize a masterpiece (if it is opposed to life).

    And is it? It is.

    John Cage, Silence
    • art
    • darkness
    • music
  • Holding together a civilization

    It is only in the present age that it has been asserted that 'architecture is not an art' or 'should not be an art': and that strenuous efforts are made to made a distinction between design and art. And nowadays we build cities of such a quality that no one likes living in them, everyone who can do so gets a motor car to escape from them. Because of the multitude of motor cars, escape is now denied us, the country is destroyed, and the cities become still less tolerable to live in.

    All that is the consequence of contempt for art. Art is not a matter of giving people a little pleasure in their time off. It is in the long run a matter of holding together a civilization.

    David Pye, The Nature and Aesthetics of Design
    • architecture
    • art
    • urbanism
  • The imprint of a man

    Art is the imprint of a man: a creature whose nature is idiosyncrasy sparring with conformity.

    David Pye, The Nature and Aesthetics of Design
    • art
  • Déjà vu

    The artists expression may make us aware for the first time of something we had too little regarded or had not been fully conscious of, presenting us with something which is quite new to us and yet at the same time disturbingly familiar – déjà vu.

    David Pye, The Nature and Aesthetics of Design
    • art
  • Fear of death

    He thought that fear of death was perhaps the root of all art.

    Herman Hesse, Narcissus and Goldmund
    • death
    • art
  • Mimesis

    Realism played small part in the realities of life as experienced by the traditional Japanese artist. The expectations of the artist's cultivated sensibilities did not demand mimesis. Rather, indication, suggestion, simplicity took the place of any fidelity to outward appearance.

    Donald Richie, A Tractate on Japanese Aesthetics
    • art
  • A perfect circle

    Once, being asked to submit a sample of his work, what Giotto submitted was a circle.
    Well, the point being that it was a perfect circle.
    And that Giotto had painted it freehand.

    David Markson, Wittgenstein's Mistress
    • art
    • skill
  • Iconography

    It is understandable that those students who must work from reproductions of works of art are usually more interested in iconography than in the more subtle questions of technique and quality, but it is regrettable that technical ignorance should so frequently prevent art historians from considering the whole experience of the artist.

    Cyril Stanley Smith, A Search for Structure
    • art
    • experience
    • technique
  • Simple moments of clarity

    I have seen autistic children drawing at a terrific speed and I've always thought that my drawings should not be less rapid, because that speed gives them insignificance. In this speed lies their abandonment and it may cause them to be overlooked as mere doodles. However, I understand that they are like that pristine light that appears when they tell you that you have a tumour. In an instant, everything becomes clear and well-defined. All contours are cruelly illuminated as if it was worth taking a final look at the world. At such times, although the lines in the drawings clump into a skein of events that are indecipherable to ordinary mortals, they can be described in detail by the victim one by one. These are moments when weeds regain their nature as plants.

    Only now can I understand these drawings as simple moments of clarity.

    Smiljan Radić, Death at Home
    • art
    • clarity
  • 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.

    Kevin Lynch, The Image of the City
    • art
    • meaning
    • images
    • harmony
    • form
  • More than just a machine that runs along

    "As far as I'm concerned, a folk art is when you take a utilitarian object, something you use every day, and you give it overlays of your own personality, what it is you feel and so forth. You enhance it with your life. And a folk art in the current period of time would more appropriately be in the area of something like a motorcycle. I mean, a motorcycle can be a lot more than just a machine that runs along; it can be a whole description of a personality and an aesthetic."

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • identity
    • art
  • The human reality of perception

    "The great misinterpretation of twentieth-century art is the claim advanced that many people, especially critics, that cubism of necessity led to abstraction. But on the contrary, cubism was about the real world. It was an attempt to reclaim a territory for figuration, for depiction. Faced with the claim that photography had made figurative painting obsolete, the cubists performed an exquisite critique of photography; they showed that there were certain aspects of looking—basically the human reality of perception—that photography couldn't convey, and that you still needed the painter's hand and eye to convey them." — David Hockney

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • art
    • perception
    • seeing
  • It can also be art

    It is worth remembering a website does not have to be a product; it can also be art. The web is also a creative and cultural space that need not confine itself to the conventions defined by commercial product design and marketing.

    Parimal Satyal, Rediscovering the Small Web
    • www
    • art
    • ux
  • 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.

    E. H. Gombrich, Art and Illusion
    • language
    • art
    • images
  • Anatomical Drawings of Staircase Spaces

    A Book by Tomoyuki Tanaka
    1. ​​Shibuya​​
    2. ​​Detail​​
    3. ​​Platforms​​
    4. ​​Spiral​​
    5. ​​Descent​​
    1. ​​Back to the Drawing Board​​
    2. ​​Section-perspective drawing​​
    3. ​​Kengo Kuma's sketches​​
    • architecture
    • drawing
    • transportation
    • art
  • Wittgenstein's Mistress

    A Novel by David Markson
    www.goodreads.com
    1. ​​I think very well of him indeed​​
    2. ​​A perfect circle​​
    3. ​​The Eiffel Tower​​
    4. ​​Ceci n'est pas une pipe​​
    5. ​​Erased de Kooning Drawing​​
    1. ​​Designed to be ruins​​
    2. ​​Several Short Sentences About Writing​​
    3. ​​Writing. By Tully Hansen​​
    4. ​​Herb Quine Interviews Herb Quine​​
    • philosophy
    • art
    • loneliness
    • melancholy
  • Silence

    A Book by John Cage
    archive.org
    1. ​​I would want to be in that darkness​​
    1. ​​The Sound Of Silence​​
    • sound
    • silence
    • music
    • art
    • zen
  • The Story of Art

    A Book by E. H. Gombrich
    • art
    • history
  • Words and Images

    An Essay by René Magritte
    1. ​​Le ☀️ est caché par les ☁️​​
    • symbols
    • images
    • words
    • art
  • The Sense of Order

    A Book by E. H. Gombrich
    1. ​​The Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy​​
    • perception
    • art
    • order
  • Hyperart: Thomasson

    A Book by Genpei Akasegawa & Matt Fargo
    kaya.com
    1. ​​No ordinary objects​​
    2. ​​Thomassons​​
    • art
    • repair
  • Art and Illusion

    A Book by E. H. Gombrich
    1. ​​The language of art​​
    • perception
    • art
    • seeing
  • I've designed it that way

    A Quote by Townes Van Zandt
    genius.com

    I don't envision a very long life for myself.
    Like, I think my life will run out before my work does, you know?

    I've designed it that way.

    1. ​​Your life adds up​​
    • death
    • work
    • design
    • art
    • melancholy
    • life
  • AI-art isn’t art

    An Essay by Erik Hoel
    erikhoel.substack.com

    AI-generated artwork is the same as a gallery of rock faces. It is pareidolia, an illusion of art, and if culture falls for that illusion we will lose something irreplaceable. We will lose art as an act of communication, and with it, the special place of consciousness in the production of the beautiful.

    …Just as how something being either an original Da Vinci or a forgery does matter, even if side-by-side you couldn’t tell them apart, so too with two paintings, one made by a human and the other by an AI. Even if no one could tell them apart, one lacks all intentionality. It is a forgery, not of a specific work of art, but of the meaning behind art.

    • art
    • consciousness
    • beauty
    • meaning
    • ai
  • Avant-Garde and Kitsch

    An Essay by Clement Greenberg
    theoria.art-zoo.com

    Capitalism in decline finds that whatever of quality it is still capable of producing becomes almost invariably a threat to its own existence.

    • quality
    • economics
    • culture
    • art
  • The problem with ornament

    An Article
    www.architectural-review.com

    Contemporary architects are, however, increasingly engaging with ornamentation. The zenith was Grayson Perry and Charles Holland of FAT’s fairytale House for Essex (p64), but it does not serve as an indicator because the involvement of an artist has allowed an enhanced engagement with ornament until it surpasses mere decoration and becomes embodied in the architecture in a way that architects do not allow themselves to do. Think of FAT’s old work: the ornament is all contained within a surface - a facade - which allowed them to separate out the (Modernist) architecture from the (kitsch) superficiality of the elevation. Like Venturi before them, their ornament allowed them to have their ornamentally iced cake - and eat the Minimal Modernist sponge underneath.

    1. ​​It passes by the river​​
    • ornament
    • architecture
    • art
  • The Finish Fetish Artists

    An Essay
    www.getty.edu

    For others, perhaps especially those artists who worked with light and transparency and were involved in the birth of the Light and Space Movement, an immaculate surface is a prerequisite. Helen Pashgian explained this very clearly:

    “On any of these works, if there is a scratch... that’s all you see. The point of it is not the finish at all – the point is being able to interact with the piece, whether it is inside or outside, to see into it, to see through it, to relate to it in those ways. But that’s why we need to deal with the finish, so we can deal with the piece on a much deeper level”.

    The importance of a pristine surface calls for a very low tolerance to damage by the artists. The feeling is shared by Larry Bell:

    “I don’t want you to see stains on the glass. I don’t want you to see fingerprints on the glass... I don’t want you to see anything except the light that’s reflected, absorbed, or transmitted”

    1. ​​Seeing Is Forgetting the Name of the Thing One Sees​​
    2. ​​The light that hits the glass​​
    3. ​​Phenomenal: California Light, Space, Surface​​
    • light
    • art
    • interfaces
    • material
  • Phenomenal: California Light, Space, Surface

    A Book by Robin Clark
    www.goodreads.com
    1. ​​Phenomenal: An Introduction​​
    2. ​​Phenomenal: Exhibited Works​​
    3. ​​Stealth Architecture: The Rooms of Light and Space​​
    1. ​​Seeing Is Forgetting the Name of the Thing One Sees​​
    2. ​​Robert Irwin: A Conditional Art​​
    3. ​​The Finish Fetish Artists​​
    • art
  • evermore, and other beautiful things

    An Article by Linus the Sephist
    linus.coffee

    If all evidence of civilization on Earth was destroyed, and humans had to re-build society from the ground up, what would be different? Feynman reckons that pivotal scientific moments, like the discovery of the atom, will still happen in the same way. Perhaps mathematics will be similarly rediscovered.

    Someone told me once in response to this question, no artwork would ever be recreated. The art we create – music, stories, dance, film – isn’t a fundamental element of the universe, or even of humanity. It’s unique to each artist. If you choose to create art, you leave something in the world that has never had a chance to exist before, and will never again have a chance to exist. There will never be another Beatles or Studio Ghibli or Picasso. Art, in its infinite variations of originality, is cosmically unique in a way the sciences will never be. Art immortalizes human experiences that would otherwise vanish in time.

    • art
    • science
    • humanity
    • society
  • minimator.app

    An Application
    minimator.app
    CBBAB919-9209-468D-8A1C-76CBCC3A60CA.jpeg

    Minimator is a minimalist graphical editor.

    All drawings are made of lines in a grid based canvas. The lines are limited to vertical and horizontal lines, and quarter circles.

    • drawing
    • microsites
    • art

    Sol Lewitt vibes.

  • app.wombo.art

    An Application
    app.wombo.art
    Screenshot of app.wombo.art on 2021-12-08 at 8.06.23 PM.png

    light, space & shadow.

    • art
    • ai

    AI-generated artworks from an input phrase or a few evocative words.

  • A small store

    A Gallery by Kyeoung Me Lee
    www.leemk.com
    togimyum-summer.jpeg
    1. ​​Morioka Shoten​​
    • urbanism
    • whimsy
    • drawing
    • art

    Drawings of small convenience stores from around Korea. Via kottke.org via Colossal.

  • LoveFrom,

    A Website
    www.lovefrom.com
    Screenshot of www.lovefrom.com on 2021-10-16 at 3.56.21 PM.png
    LoveFrom,
    is a creative
    collective.
    • microsites
    • craft
    • art
  • The Gifted Listener: Composer Aaron Copland on Honing Your Talent for Listening to Music

    An Article by Maria Popova
    www.brainpickings.org

    The poetry of music, Copland intimates, is composed both by the musician, in the creation of music and its interpretation in performance, and by the listener, in the act of listening that is itself the work of reflective interpretation. This makes listening as much a creative act as composition and performance — not a passive receptivity to the object that is music, but an active practice that confers upon the object its meaning: an art to be mastered, a talent to be honed.

    1. ​​Music and Imagination​​
    2. ​​To see is to forget the name of the thing one sees​​
    3. ​​The core assertion​​
    • music
    • poetry
    • art
    • meaning
  • Monoskop

    A Website
    monoskop.org

    Monoskop is a wiki for the arts, media and humanities.

    1. ​​barnsworthburning.net​​
    • hypermedia
    • art
    • media
    • culture
  • On 'The Master and His Emissary'

    A Quote by Ian McGilchrist
    www.ttbook.org

    People who make works of art, whatever they might be, have gone to great trouble to make something unique which is embodied in the form that it is, and not in any other form, and that it transmits things that remain implicit

    ...Works of art are not just disembodied, entirely abstract, conceptual things. They are embodied in the words they’re in or in paint or in stone or in musical notes or whatever it might be.

    1. ​​The work is what it means​​
    2. ​​The meaning of music​​
    3. ​​If a book can be summarized, is it worth reading?​​
    • art
    • material
    • meaning
    • form
  • Enjoying the garden together

    A Quote by Brian Eno
    blog.ayjay.org

    And essentially the idea there is that one is making a kind of music in the way that one might make a garden. One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life.

    What this means, really, is a rethinking of one’s own position as a creator. You stop thinking of yourself as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included.

    • creativity
    • music
    • making
    • art
    • gardens
  • Signing party

    An Article
    www.folklore.org
    signatures.jpg

    Since the Macintosh team were artists, it was only appropriate that we sign our work. Steve came up with the awesome idea of having each team member's signature engraved on the hard tool that molded the plastic case, so our signatures would appear inside the case of every Mac that rolled off the production line. Most customers would never see them, since you needed a special tool to look inside, but we would take pride in knowing that our names were in there, even if no one else knew.

    1. ​​All the way through​​
    2. ​​Devoid of ambition​​
    3. ​​Real artists sign their work​​
    • art
    • products
  • Almanacs and cyclical time

    An Article by Austin Kleon
    austinkleon.com
    Image from austinkleon.com on 2021-07-22 at 9.43.53 PM.jpeg

    I am fascinated by the Farmer’s Almanac, and the “Planting by the Moon” guide in particular, which has advice such as: “Root crops that can be planted now will yield well.” “Good days for killing weeds.” “Good days for transplanting.” “Barren days. Do no planting.”

    I think it’d be funny to make up an almanac for writers and artists, one that emphasized the never-ending, repetitive work of the craft.

    • cycles
    • art
    • writing
  • 1,000 True Fans

    An Essay by Kevin Kelly
    kk.org

    To be a successful creator you don’t need millions. You don’t need millions of dollars or millions of customers, millions of clients or millions of fans. To make a living as a craftsperson, photographer, musician, designer, author, animator, app maker, entrepreneur, or inventor you need only thousands of true fans.

    A true fan is defined as a fan that will buy anything you produce. These diehard fans will drive 200 miles to see you sing; they will buy the hardback and paperback and audible versions of your book; they will purchase your next figurine sight unseen; they will pay for the “best-of” DVD version of your free youtube channel; they will come to your chef’s table once a month. If you have roughly a thousand of true fans like this (also known as super fans), you can make a living — if you are content to make a living but not a fortune.

    • art
    • making
    • fame
  • Tokenize This

    An Artwork by Benjamin Grosser
    bengrosser.com
    Image from bengrosser.com on 2021-06-30 at 11.37.07 AM.png

    Different from the typical website whose URLs act as persistent indexes to a page and its contents, Tokenize This destroys each work right after its creation. While the unique digital object remains viewable by the original visitor for as long as they leave their browser tab open, any subsequent attempt to copy, share, or view that URL in another tab, browser, or system, leads to a “404 Not Found” error. In other words, Tokenize This generates countless digital artifacts that can only be viewed or accessed once.

    • www
    • art
    • economics
  • Poioumenon

    A Definition
    en.wiktionary.org

    A specific type of metafiction in which the story is about the process of creation (sometimes the creation of the story itself).

    1. ​​Bo Burnham: Inside​​
    • literature
    • making
    • art
    • self-reference
  • After the Fair

    An Artwork
    www.georgkargl.com
    tumblr_f11f2e6a9a8df01e03e944fb9331b804_acf75e23_1280.jpeg

    After the Fair by David Maljkovic. Via hiddenarchitecture.

    After the Fair puts in focus the Yugoslavian Pavilion at the International Vienna Fair and recalls absent images of the pavilion and the absence of an euphoric projection of a happier future which should be built after the recent historic trauma. The exhibition in its archtectonically determined space of the Georg Kargl BOX cannot reconstruct these 'events', however it can bring up questions as a kind of an inventory making.

    1. ​​The tower​​
    • art
    • architecture
  • Rafael Araujo's Golden Ratio

    A Gallery
    www.rafael-araujo.com
    Image from www.rafael-araujo.com on 2021-05-21 at 10.24.01 AM.webp

    Blue Morpho Double Helix & Icosahedron

    • math
    • geometry
    • art
  • Woodblock Prints

    An Essay from The Beauty of Everyday Things by Yanagi Sōetsu

    It 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.

    1. ​​The fountainhead of beauty​​
    2. ​​The preliminary sketch​​
    • art
    • fashion
    • media
  • The art of taking

    A Quote
    fujixweekly.com

    "By making it possible for the photographer to observe his work and his subject simultaneously, and by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers. The process must be concealed from—non-existent for—the photographer, who by definition need think of the art in taking and not in making photographs. In short, all that should be necessary to get a good picture is to take a good picture, and our task is to make that possible."

    — Edwin H. Land, co-founder of Polaroid

    • photography
    • art
    • seeing
    • process

    Via fujixweekly

  • Painting With the Web

    An Article by Matthias Ott
    matthiasott.com

    So much about [Gerhard Richter's painting process] reminds me of designing and building for the Web: The unpredictability, the peculiarities of the material, the improvisation, the bugs, the happy accidents. There is one crucial difference, though. By using static wireframes and static layouts, by separating design and development, we are often limiting our ability to have that creative dialogue with the Web and its materials. We are limiting our potential for playful exploration and for creating surprising and novel solutions. And, most importantly, we are limiting our ability to make conscious, well-informed decisions going forward. By adding more and more layers of abstraction, we are breaking the feedback loop of the creative process.

    1. ​​A constant dialogue​​
    2. ​​Constant reflection and refinement​​
    1. ​​How do you know when your paintings are finished?​​
    2. ​​Designing with code​​
    • art
    • www
    • creativity
    • process
    • code
  • Longfellow Bridge Trophy Room

    An Artwork
    www.messynessychic.com
    AE0BF0F2-FFC3-4D26-B846-DD249BD380D1_1_201_a.jpeg

    B&W photo is from my camera, second photo of shelves from linked article.

    Upon stumbling upon it, you might imagine a story of a college athlete who fell from society’s grace, but rumor has it, this unusual sight is actually an art installation that just “popped up” in May of 2014 and has been steadily expanding and attracting visitors who sometimes add their own trophies to the collection. Although the trophies are not bolted to the four metal shelves in any way, free to be taken, people just don’t.

    • art
    • boston
  • The still life effect

    A Fragment by Paul Graham
    paulgraham.com

    If you're going to spend years working on something, you'd think it might be wise to spend at least a couple days considering different ideas, instead of going with the first that comes into your head. You'd think. But people don't. In fact, this is a constant problem when you're painting still lifes. You plonk down a bunch of stuff on a table, and maybe spend five or ten minutes rearranging it to look interesting. But you're so impatient to get started painting that ten minutes of rearranging feels very long. So you start painting. Three days later, having spent twenty hours staring at it, you're kicking yourself for having set up such an awkward and boring composition, but by then it's too late.

    • ideas
    • art

    From Why Smart People Have Bad Ideas.

  • Chazen Museum of Art

    A Gallery
    chazen.wisc.edu

    The Chazen’s expansive two-building site holds the second-largest collection of art in Wisconsin, and is the largest collecting museum in the Big 10.

    1. ​​Meltdown​​
    2. ​​Empty Every Night​​
    • art
  • Art is memory's mise-en-scène

    A Quote
    • art
    • memory
    • metaphor

    Cyril Connolly, The Unquiet Game.

  • butdoesitfloat

    A Blog
    butdoesitfloat.com
    Screenshot of butdoesitfloat.com on 2020-09-03 at 2.52.47 PM.png
    • art
    • beauty
    • graphics
    • photography

    Updated rarely (if at all) these days, but one of the most well-curated, gorgeous blogs I've ever come across.

  • But what do you want to say?

    An Article by Ralph Ammer
    ralphammer.com
    Image from ralphammer.com on 2020-07-27 at 5.17.00 PM.gif

    Pablo Picasso famously said:

    “The world doesn’t make sense, so why should I paint pictures that do?”

    A sensible approach to something that can’t be explained is to express it.

    Rather than giving you explanations or “saying something”, most artists are concerned with what I like to call “room for interpretation”. They create platforms that trigger thoughts, feelings, emotions, and ideas.

    Instead of trying to explain the inexplicable artists express their view of it. They don’t want to tell you what to think, they invite you to respond.

    1. ​​Making sense​​
    • art
    • emotion
  • Making sense

    A Quote by Pablo Picasso

    The world doesn’t make sense, so why should I paint pictures that do?

    1. ​​But what do you want to say?​​
    • understanding
    • art

See also:
  1. architecture
  2. music
  3. meaning
  4. perception
  5. seeing
  6. beauty
  7. craft
  8. design
  9. making
  10. drawing
  11. material
  12. images
  13. form
  14. www
  15. microsites
  16. graphics
  17. media
  18. creativity
  19. death
  20. urbanism
  21. ornament
  22. writing
  23. repair
  24. ux
  25. life
  26. zen
  27. melancholy
  28. understanding
  29. geometry
  30. photography
  31. process
  32. economics
  33. culture
  34. ai
  35. connection
  36. emptiness
  37. skill
  38. darkness
  39. experience
  40. technique
  41. clarity
  42. harmony
  43. thomassons
  44. objects
  45. identity
  46. emotion
  47. language
  48. transportation
  49. sound
  50. silence
  51. order
  52. history
  53. philosophy
  54. loneliness
  55. symbols
  56. words
  57. morality
  58. teaching
  59. dance
  60. learning
  61. truth
  62. lies
  63. cities
  64. software
  65. collaboration
  66. memory
  67. metaphor
  68. ideas
  69. boston
  70. code
  71. products
  72. imperfections
  73. fashion
  74. gardens
  75. math
  76. literature
  77. self-reference
  78. fame
  79. cycles
  80. perfection
  81. engineering
  82. hypermedia
  83. poetry
  84. modernism
  85. senses
  86. whimsy
  87. constraints
  88. space
  89. light
  90. interfaces
  91. science
  92. humanity
  93. society
  94. quality
  95. consciousness
  96. work
  1. Robert Irwin
  2. Lawrence Wechler
  3. E. H. Gombrich
  4. David Markson
  5. David Pye
  6. Cyril Stanley Smith
  7. Matthew Simms
  8. John Cage
  9. Smiljan Radić
  10. Genpei Akasegawa
  11. Matt Fargo
  12. Jane Jacobs
  13. Paul Graham
  14. Yanagi Sōetsu
  15. Dorothy Sayers
  16. Herman Hesse
  17. Donald Richie
  18. Jun'ichirō Tanizaki
  19. Thomas J. Harper
  20. Kevin Lynch
  21. James Turrell
  22. Ed Wortz
  23. Parimal Satyal
  24. Ralph Ammer
  25. Tomoyuki Tanaka
  26. René Magritte
  27. Pablo Picasso
  28. Henry David Thoreau
  29. Nick Trombley
  30. Richard Hamming
  31. Sibyl Moholy-Nagy
  32. Ellen Lupton
  33. J. Abbott Miller
  34. Matthias Ott
  35. Brian Eno
  36. Benjamin Grosser
  37. Kevin Kelly
  38. Austin Kleon
  39. Walter Isaacson
  40. Bono
  41. Hayao Miyazaki
  42. Ian McGilchrist
  43. Edward Tufte
  44. Maria Popova
  45. Philip Guston
  46. Kyeoung Me Lee
  47. Okakura Kakuzō
  48. Linus the Sephist
  49. Robin Clark
  50. Clement Greenberg
  51. Erik Hoel
  52. Townes Van Zandt