In 1923 Kandinsky proposed a universal correspondence between the three elementary shapes and the three primary colors: the dynamic triangle is inherently yellow, the static square is intrinsically red, and the serene circle is naturally blue.
The series ▲■● represents Kandinsky’s attempt to prove a universal correlation between color and geometry; it has become one of the most famous icons of the Bauhaus. Kandinsky conceived of these colors and shapes as a series of oppositions: yellow and blue represent the extremes of hot/cold, light/dark, and active/passive, while red is the intermediary between them. The triangle, square, and circle are graphic equivalents of the same polarities.
In March 2021, I went through a fun self-imposed experiment: no emoji for 2 weeks. Not on social media, not in private messages, not even as Slack or Discord reactions. No emoticon either: the goal was to communicate without illustrations, only with words. I did a semi-rigorous (a.k.a. half-assed) diary study, taking notes on my feelings and behaviour.
Folly at Hagley Hall, Hereford and Worcester, built by Sanderson Miller, 1749–50
In architecture, a folly is a costly, generally nonfunctional building that was erected to enhance a natural landscape. Follies first gained popularity in England, and they were particularly in vogue during the 18th and early 19th centuries, when landscape design was dominated by the tenets of Romanticism. Thus, depending on the designer’s or owner’s tastes, a folly might be constructed to resemble a medieval tower, a ruined castle overgrown with vines, or a crumbling Classical temple complete with fallen, eroded columns.