Art
The work is what it means
The object of art
Seeing Is Forgetting the Name of the Thing One Sees
- ââSonorisms Iââ
- ââMore than just a machine that runs alongââ
- ââNobody was doing anythingââ
- ââNYLAââ
- ââAggressively Zenââ
- ââThe Small Groupââ
- ââInfinite varieties of contextsââ
- ââYour only language is visionââ
- ââTo see is to forget the name of the thing one seesââ
- ââRobert Irwin: A Conditional Artââ
- ââThe Finish Fetish Artistsââ
- ââPhenomenal: California Light, Space, Surfaceââ
Isometry
- ââThe doctrine of salvation by blocksââ
- ââAd Reinhardtââ
- ââUntitled Procreate Sketch #1ââ
- ââ13. Ulam's Staircaseââ
- ââ12. Rule Thirtyââ
- ââCityspace seriesââ
- ââPlus Equals #4ââ
- ââLittle Blank Riding Hoodââ
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."
In a state of reverberation
Irwin's terms of sudden, physical realization â bam! â 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.
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.
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.'
- ââThe Age of the Essayââ
- ââGame feelââ
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.
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.
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.
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 â 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 ofsilhouettes shadows dapples clouds airspaces sun earth glowing
. Your only language is vision.Concrete poetry
Concrete poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance.
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.'"
Live your ten years
Artists are only creative for 10 years...we engineers are no different. Live your 10 years to the full.
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.
âI mix it with two in my thoughtâ; 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.
- ââThe design conceptââ
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.
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 commoditiesâin short, where the pattern of human activity contains only one element, it is impossible for the architecture to achieve a convincing varietyâconvincing 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.
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.
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.
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". Noânot so much "art" as something that exceeds art...
Hyperart.
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, âWe want you guys to work with an artist.â And the architects are like, âSure of course.â But then the official goesââNo, you donât quite understand. We want you to use an artist as a co-equal member of the design team.â That is, the artists are going to have just as much control as the architects. It was really unheard of.
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.
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.
- ââThe order of lifeââ
Truchet Tiles
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.
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.
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.
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 studentâs headâwhich is where the learning is supposed to occur!
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.
- ââSuburban Nationââ
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.
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.
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.
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.
The imprint of a man
Art is the imprint of a man: a creature whose nature is idiosyncrasy sparring with conformity.
DĂŠjĂ 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 â dĂŠjĂ vu.
Fear of death
He thought that fear of death was perhaps the root of all 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.
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.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.
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.
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.
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."
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 lookingâbasically the human reality of perceptionâthat photography couldn't convey, and that you still needed the painter's hand and eye to convey them." â David Hockney
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.
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.
Anatomical Drawings of Staircase Spaces
AÂ Book by Tomoyuki Tanaka- ââShibuyaââ
- ââDetailââ
- ââPlatformsââ
- ââSpiralââ
- ââDescentââ
Wittgenstein's Mistress
AÂ Novel by David Markson- ââI think very well of him indeedââ
- ââA perfect circleââ
- ââThe Eiffel Towerââ
- ââCeci n'est pas une pipeââ
- ââErased de Kooning Drawingââ
Words and Images
An Essay by RenĂŠ Magritte- ââPictures and wordsââ
Silence
AÂ Book by John CageThe Story of Art
AÂ Book by E. H. GombrichThe Sense of Order
AÂ Book by E. H. GombrichHyperart: Thomasson
AÂ Book by Genpei Akasegawa & Matt Fargo- ââNo ordinary objectsââ
- ââThomassonsââ
Art and Illusion
AÂ Book by E. H. GombrichI've designed it that way
AÂ Quote by Townes Van ZandtI 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.- ââYour life adds upââ
AI-art isnât art
An Essay by Erik HoelAI-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.
âŚJust as how something being either an original Da Vinci or a forgery does matter, even if side-by-side you couldnât 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.
Avant-Garde and Kitsch
An Essay by Clement GreenbergCapitalism in decline finds that whatever of quality it is still capable of producing becomes almost invariably a threat to its own existence.
The problem with ornament
An ArticleContemporary architects are, however, increasingly engaging with ornamentation. The zenith was Grayson Perry and Charles Holland of FATâs 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 FATâs 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.
The Finish Fetish Artists
An EssayFor 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:
âOn any of these works, if there is a scratch... thatâs all you see. The point of it is not the finish at all â 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 thatâs why we need to deal with the finish, so we can deal with the piece on a much deeper levelâ.
The importance of a pristine surface calls for a very low tolerance to damage by the artists. The feeling is shared by Larry Bell:
âI donât want you to see stains on the glass. I donât want you to see fingerprints on the glass... I donât want you to see anything except the light thatâs reflected, absorbed, or transmittedâ
Phenomenal: California Light, Space, Surface
AÂ Book by Robin Clark- ââPhenomenal: An Introductionââ
- ââPhenomenal: Exhibited Worksââ
- ââStealth Architecture: The Rooms of Light and Spaceââ
evermore, and other beautiful things
An Article by Linus the SephistIf 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 â music, stories, dance, film â isnât a fundamental element of the universe, or even of humanity. Itâs 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.
minimator.app
An ApplicationMinimator 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.
app.wombo.art
An ApplicationA small store
AÂ Gallery by Kyeoung Me Lee- ââMorioka Shotenââ
LoveFrom,
AÂ WebsiteLoveFrom,
is a creative
collective.The Gifted Listener: Composer Aaron Copland on Honing Your Talent for Listening to Music
An Article by Maria PopovaThe 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 â 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.
Monoskop
AÂ WebsiteMonoskop is a wiki for the arts, media and humanities.
On 'The Master and His Emissary'
AÂ Quote by Ian McGilchristPeople 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 theyâre in or in paint or in stone or in musical notes or whatever it might be.
Enjoying the garden together
AÂ Quote by Brian EnoAnd 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 oneâs 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.
Signing party
An ArticleSince 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.
Almanacs and cyclical time
An Article by Austin KleonI am fascinated by the Farmerâs Almanac, and the âPlanting by the Moonâ guide in particular, which has advice such as: âRoot crops that can be planted now will yield well.â âGood days for killing weeds.â âGood days for transplanting.â âBarren days. Do no planting.â
I think itâd be funny to make up an almanac for writers and artists, one that emphasized the never-ending, repetitive work of the craft.
1,000 True Fans
An Essay by Kevin KellyTo be a successful creator you donât need millions. You donât 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 âbest-ofâ DVD version of your free youtube channel; they will come to your chefâs 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 â if you are content to make a living but not a fortune.
Tokenize This
An Artwork by Benjamin GrosserDifferent 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 â404 Not Foundâ error. In other words, Tokenize This generates countless digital artifacts that can only be viewed or accessed once.
Poioumenon
AÂ DefinitionA specific type of metafiction in which the story is about the process of creation (sometimes the creation of the story itself).
- ââBo Burnham: Insideââ
After the Fair
An ArtworkAfter 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.
- ââThe towerââ
Rafael Araujo's Golden Ratio
AÂ GalleryBlue Morpho Double Helix & Icosahedron
Woodblock Prints
An Essay from The Beauty of Everyday Things by Yanagi SĹetsuIt 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.
The art of taking
AÂ Quote"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 fromânon-existent forâthe 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."
â Edwin H. Land, co-founder of Polaroid
Painting With the Web
An Article by Matthias OttSo 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.
Longfellow Bridge Trophy Room
An ArtworkB&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 societyâs grace, but rumor has it, this unusual sight is actually an art installation that just âpopped upâ 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 donât.
The still life effect
AÂ Fragment by Paul GrahamIf 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.
Chazen Museum of Art
AÂ GalleryThe Chazenâs expansive two-building site holds the second-largest collection of art in Wisconsin, and is the largest collecting museum in the Big 10.
- ââMeltdownââ
- ââEmpty Every Nightââ
Art is memory's mise-en-scène
AÂ Quotebutdoesitfloat
AÂ BlogBut what do you want to say?
An Article by Ralph AmmerPablo Picasso famously said:
âThe world doesnât make sense, so why should I paint pictures that do?â
A sensible approach to something that canât be explained is to express it.
Rather than giving you explanations or âsaying somethingâ, most artists are concerned with what I like to call âroom for interpretationâ. They create platforms that trigger thoughts, feelings, emotions, and ideas.
Instead of trying to explain the inexplicable artists express their view of it. They donât want to tell you what to think, they invite you to respond.
- ââMaking senseââ
Making sense
AÂ Quote by Pablo PicassoThe world doesnât make sense, so why should I paint pictures that do?
What 80% Comprehension Feels Like
One of the major principles of extensive reading is that if a learner can comprehend material at 98% comprehension, she will acquire new words in context, in a painless, enjoyable way. But what is 98% comprehension?
- ââ98% comprehensionââ
- ââ95% comprehensionââ
- ââ80% comprehensionââ
98% comprehension
You live and work in Tokyo. Tokyo is a big city. More than 13 million people live around you. You are never borgle, but you are always lonely. Every morning, you get up and take the train to work. Every night, you take the train again to go home. The train is always crowded. When people ask about your work, you tell them, âI move papers around.â Itâs a joke, but itâs also true. You donât like your work. Tonight you are returning home. Itâs late at night. No one is shnooling. Sometimes you donât see a shnool all day. You are tired. You are so tiredâŚ
95% comprehension
In the morning, you start again. You shower, get dressed, and walk pocklent. You move slowly, half- awake. Then, suddenly, you stop. Something is different. The streets are fossit. Really fossit. There are no people. No cars. Nothing. âWhere is dowargle?â you ask yourself. Suddenly, there is a loud quapenâa police car. It speeds by and almost hits you. It crashes into a store across the street! Then, another police car farfoofles. The police officer sees you. âOff the street!â he shouts. âGo home, lock your door!â âWhat? Why?â you shout back. But itâs too late. He is gone.
80% comprehension
âBingle for help!â you shout. âThis loopity is dying!â You put your fingers on her neck. Nothing. Her flid is not weafling. You take out your joople and bingle 119, the emergency number in Japan. Thereâs no answer! Then you muchy that you have a new befourn assengle. Itâs from your gutring, Evie. She hunwres at Tokyo University. You play the assengle. ââŚif you get thisâŚâ Evie says. ââŚI canât vickarn now⌠the important passit isâŚâ Suddenly, she looks around, dingle. âOh no, theyâre here! Cripett⌠the frib! Wasple them ON THE FRIB!âŚâ BEEP! the assengle parantles. Then you gratoon something behind youâŚ