1. ⁘  ⁘  ⁘
  2. ⁘  ⁘  ⁘
  3. Abo, Akinori 9
  4. aesthetics 19
  5. agile 30
  6. Albers, Josef 17
  7. Alexander, Christopher 135
  8. Alexander, Scott 5
  9. Allsopp, John 4
  10. Ammer, Ralph 6
  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
  21. Aurelius, Marcus 14
  22. Bachelard, Gaston 12
  23. Baker, Nicholson 10
  24. beauty 58
  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
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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
  133. geography 8
  134. geometry 18
  135. goals 9
  136. Gombrich, E. H. 4
  137. goodness 12
  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
  151. history 13
  152. Hoffman, Yoel 10
  153. Hofstadter, Douglas 6
  154. home 15
  155. Hoy, Amy 4
  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
  201. Kramer, Karen L. 10
  202. Krishna, Golden 10
  203. Kuma, Kengo 18
  204. language 20
  205. learning 30
  206. life 59
  207. light 31
  208. loneliness 12
  209. love 26
  210. Lovell, Sophie 16
  211. Lupton, Ellen 11
  212. Luu, Dan 8
  213. Lynch, Kevin 12
  214. MacIver, David R. 8
  215. MacWright, Tom 5
  216. Magnus, Margaret 12
  217. making 77
  218. management 14
  219. Manaugh, Geoff 27
  220. Markson, David 16
  221. Mars, Roman 13
  222. material 39
  223. math 16
  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
  247. networks 15
  248. Neustadter, Scott 3
  249. Noessel, Christopher 7
  250. notetaking 35
  251. novelty 11
  252. objects 16
  253. order 10
  254. ornament 9
  255. Orwell, George 7
  256. Ott, Matthias 4
  257. ownership 6
  258. Pallasmaa, Juhani 41
  259. Palmer, John 8
  260. patterns 11
  261. Patton, James L. 9
  262. Pawson, John 21
  263. perception 22
  264. perfection 7
  265. performance 17
  266. Perrine, John D. 9
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  274. Plater-Zyberk, Elizabeth 18
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  277. Pollan, Michael 6
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  279. problems 31
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  289. Radić, Smiljan 20
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  294. Reichenstein, Oliver 5
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  299. Reveal, James L. 4
  300. Richards, Melanie 3
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  302. Rougeux, Nicholas 4
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  305. Ruskin, John 5
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  320. Simms, Matthew 19
  321. Simon, Paul 6
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  323. Singer, Ryan 12
  324. skill 17
  325. Sloan, Robin 5
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  328. Smith, Rach 4
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Seeing & Perceiving

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  • 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
  • Not intended to be read until you have seen

    This is not a catalogue because there is no list of works. The exhibition will comprise three spaces in which three artists will have made their art. At the moment of writing we are not sure exactly what they will do—and we cannot know how what they do will appear to us. Therefore we cannot attempt to help you perceive it. So this is also not truly an introduction to the art. It is not intended to be read until you have seen the exhibition.

    Michael Compton, Phenomenal: An Introduction
    • perception
    • seeing
  • Signs seen and unseen

    B25CC909-656E-437D-B98E-114FD117277C_1_105_c.jpg

    Direct instructions at point of need may encourage writers and programmers to divert diversions. Or not, because signs are seen only a few times before becoming unseen.

    Edward Tufte, Seeing With Fresh Eyes
    • symbols
    • seeing

    🛑 STOP NOT DESIGNINGMAKINGCREATING 🛑

  • 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
  • The act of creation

    What I suggest has usually happened [during the act of creation] is this: the artist has glimpsed something: he has seen, perhaps fleetingly and indistinctly, some particular relation or quality of visible features which had previously been disregarded, and which impressed itself on him by its beauty. By means of making a work of art he then seeks as it were to fix isolate and concentrate what he has seen.

    No one has ever succeeded in demonstrating in principle how this is done, but done it is; and when we see it done we find it hard to understand why it should have been so intensely difficult to do.

    David Pye, The Nature and Aesthetics of Design
    • making
    • seeing
  • To see with eyes unclouded by hate

    Eboshi: What exactly are you here for?

    Ashitaka: To see with eyes unclouded by hate.

    Hayao Miyazaki, Princess Mononoke
    • hate
    • seeing
  • What the fixer knows

    Can repair sites and repair actors claim special insight or knowledge, by virtue of their positioning vis-à-vis the worlds of technology they engage? Can the fixer know and see different things—indeed, different worlds—than the better-known figures of "designer" or "user"?

    Steven J. Jackson, Rethinking Repair
    • seeing
    • knowledge
  • One brick

    She came in the next class with a puzzled look and handed him a five-thousand-word essay on the front of the Opera House on the main street of Bozeman, Montana. “I sat in the hamburger stand across the street,” she said, “and started writing about the first brick, and the second brick, and then by the third brick it all started to come and I couldn’t stop. They thought I was crazy, and they kept kidding me, but here it all is. I don’t understand it.”

    Neither did he, but on long walks through the streets of town he thought about it and concluded she was evidently stopped with the same kind of blockage that had paralyzed him on his first day of teaching. She was blocked because she was trying to repeat, in her writing, things she had already heard, just as on the first day he had tried to repeat things he had already decided to say. She couldn’t think of anything to write about Bozeman because she couldn’t recall anything she had heard worth repeating.

    She was strangely unaware that she could look and see freshly for herself, as she wrote, without primary regard for what had been said before. The narrowing down to one brick destroyed the blockage because it was so obvious she had to do some original and direct seeing.

    Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance
    www.drury.edu
    1. ​​Rationality: From AI to Zombies​​
    2. ​​I recommend eating chips​​
    3. ​​Looking Closely is Everything​​
    4. ​​The Student, The Fish, and Agassiz​​
    • writing
    • constraints
    • seeing
  • Haven't you noticed?

    I remember my mother sitting me down at the age of about five with pencil and paper to draw an acacia tree in the yard while she busied herself with her own sketchbook.

    After a while she came over to see my efforts. “Splendid! But haven’t you noticed how the trunk narrows as it rises? And see how the branches flatten out sideways, not like that oleander over there, where they all go up at a steep angle. Now don’t rub that one out, just do another drawing to compare with the first one.”

    Jonathan Kingdon, In the Eye of the Beholder
    1. ​​Looking Closely is Everything​​
    • seeing

    Learning to see is learning to make distinctions.

  • Pick one thing

    I recently started a field notebook assignment for my upper-level Ecology class at the University of Montana. I asked my students to pick one “thing” and observe it carefully over the entire semester.

    In addition to their field notebooks, the students also had to suggest at least ten research questions inspired by their observations.

    Erick Greene, Why Keep a Field Notebook?
    1. ​​One brick​​
    • seeing
  • One receives with an empty hand

    Intuition means to see immediately, directly.

    Considered as a form of activity, the seeing eye and the seen object are one, not two. One is embedded in the other. People who know with the intellect before seeing with the eyes cannot be said to be truly seeing.

    With intuition, time is not a factor. It takes place immediately, so there is no hesitation. It is instantaneous. Since there is no hesitation, intuition doesn’t harbour doubt. It is accompanied by conviction. Seeing and believing are close brothers.

    Yanagi Sōetsu, The Japanese Perspective
    • seeing
    • intuition
  • Handicrafts and Sesshu

    I have almost never judged a work of art by first looking at its signature. This way of assessment holds no interest for me. If what I see is good, it is good with or without a seal.

    Whether it is a painting or a pot, you must first look at the thing itself.

    Yanagi Sōetsu, The Beauty of Everyday Things
    • fame
    • seeing
  • Eyes which do not see

    Our epoch is fixing its own style day by day. It is there under our eyes—Eyes which do not see.

    Le Corbusier, Towards a New Architecture
    • seeing
    • style
  • The eye does not see

    The eye does not see things but images of things that mean other things.

    Italo Calvino, Invisible Cities
    • meaning
    • seeing
    • images

    Cities & Signs 1

  • The skill of perception

    The newborn baby and the [blind man suddenly gifted with sight] do not have to learn to see. Sight is given to them. But they do have to learn to perceive. Perception is learnt and learnt slowly. Skill is required for perception as for speech. We are largely unaware of the skill we exercise. None of the things we have to learn to perceive are self-evident, or, apparently, instinctively evident. No doubt, however, we have an instinctive aptitude for this learning, and once we have learnt we cannot easily see as though we had not.

    As Ruskin says, one has to strive, if one is to see with the 'Innocent Eye'.

    David Pye, The Nature and Aesthetics of Design
    1. ​​The innocence of the eye​​
    2. ​​the innocent i​​
    • seeing
    • perception
    • learning
    • instinct
  • The innocence of the eye

    The perception of solid form is entirely a matter of experience. We see nothing but flat colors; and it is only by a series of experiments that we find out that a stain of black or grey indicates the dark side of a solid substance... The whole technical power of painting depends on our recovery of what may be called the innocence of the eye; that is to say, of a sort of childish perception of these flat stains of color, merely as such, without consciousness of what they signify, as a blind man would see them if suddenly gifted with sight.

    John Ruskin, The Elements of Drawing
    1. ​​The skill of perception​​
    2. ​​the innocent i​​
    • i
    • seeing
    • perception
  • Seeing and feeling

    Learning to design is, first of all, learning to see. Designers see more, and more precisely. This is a blessing and a curse—once we have learned to see design, both good and bad, we cannot un-see. The downside is that the more you learn to see, the more you lose your “common” eye, the eye you design for. This can be frustrating for us designers when we work for a customer with a bad eye and strong opinions. But this is no justification for designer arrogance or eye-rolling. Part of our job is to make the invisible visible, to clearly express what we see, feel and do. You can’t expect to sell what you can’t explain.

    This is why excellent designers do not just develop a sharper eye. They try to keep their ability to see things as a customer would. You need a design eye to design, and a non-designer eye to feel what you designed.

    Oliver Reichenstein, Learning to See
    1. ​​For one who can see​​
    • seeing
    • design
    • ux
  • It will not stand still to be pointed at

    The cause of the experience of beauty is a series of events, not a state of affairs existing continuously. That perhaps is why the cause of the experience is something we find impossible to point out. It will not stand still to be pointed at. We can point out only what we perceive. We can never point out or describe what we see.

    David Pye, The Nature and Aesthetics of Design
    1. ​​Time and space​​
    • beauty
    • perception
    • seeing
  • What you have observed closely

    Drawing requires that you pay attention to every detail—even the seemingly unimportant ones. In creating an image (no matter how skillfully), the lines and tones on the paper provide ongoing feedback as to what you have observed closely and what you have not.

    Jenny Keller, Why Sketch?
    • drawing
    • details
    • seeing
  • For one who can see

    Hundreds of people can talk for one who can think, but thousands can think for one who can see.

    John Ruskin, Modern Painters
    1. ​​Seeing and feeling​​
    • thinking
    • understanding
    • seeing
  • Three or more

    "One and one don't make two, but maybe five or eight or ten, depending on the number of interactions you can get going in a situation."

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • perception
    • seeing
  • 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
  • Beautiful Evidence

    A Book by Edward Tufte
    www.edwardtufte.com
    • visualization
    • design
    • communication
    • information
    • seeing
    • truth
  • Vision Science

    A Book by Stephen E. Palmer
    mitpress.mit.edu
    • seeing
    • visualization
    • vision
  • Information Visualization: Perception for Design

    A Book by Colin Ware
    www.goodreads.com
    • visualization
    • information
    • seeing
  • To see is to forget the name of the thing one sees

    An Aphorism by Paul Valéry
    www.goodreads.com
    1. ​​Seeing Is Forgetting the Name of the Thing One Sees​​
    2. ​​The Gifted Listener: Composer Aaron Copland on Honing Your Talent for Listening to Music​​
    • seeing
  • Art and Illusion

    A Book by E. H. Gombrich
    1. ​​The language of art​​
    • perception
    • art
    • seeing
  • Be A (Re)Visitor

    An Article by Rob Walker
    robwalker.substack.com

    I was thinking about this not long ago while reading in Petapixel an essay by a photographer named Scott Reither, “Long Form Study: Why Photographers Should Repeatedly Revisit A Scene.” In it, he described photographing one particular stretch of beach, over and over, throughout his career.

    Of course that landscape has changed over time, and of course he’s had moments when he felt he’d captured the same territory so many times there was nothing left to see.

    But there was always something more to see — maybe because of a change in Reither’s life, rather than in the physical environment.

    • seeing
    • change
    • photography
  • The Student, The Fish, and Agassiz

    A Short Story by Samuel H. Scudder & Buster Benson
    busterbenson.com
    1. ​​Fish: a tap essay​​
    2. ​​Looking Closely is Everything​​
    3. ​​One brick​​
    4. ​​Field Notes on Science and Nature​​
    • seeing
    • attention
    • discovery

    Originally by Samuel H. Scudder. Reproduced by Buster Benson for his blog.

  • I recommend eating chips

    An Essay by Sam Anderson
    www.nytimes.com

    Join me. Grab whatever you’ve got. Open the bag. Pinch it on its crinkly edges and pull apart the seams. Now we’re in business: We have broken the seal. The inside of the bag is silver and shining, a marvel of engineering — strong and flexible and reflective, like an astronaut suit. Lean in, inhale that unmistakable bouquet: toasted corn, dopamine, America, grief! We are the first humans to see these chips since they left the factory who knows when. They have been waiting for us, embalmed in preservatives, like a pharaoh in his dark tomb.

    1. ​​Looking Closely is Everything​​
    2. ​​One brick​​
    • seeing
    • details
    • food
  • Pointing at things

    An Article by Austin Kleon
    austinkleon.com
    Image from austinkleon.com on 2021-03-02 at 11.39.40 AM.jpeg

    The story goes that the painter Al Held said, “Conceptual art is just pointing at things,” so John Baldessari decided to take him literally, and commissioned a bunch of amateur painters to paint realistic paintings of hands pointing at things.

    As I wrote in Steal Like An Artist,

    “Step 1: Wonder at something.
    Step 2: Invite others to wonder with you.”

    Point at things, say, “whoa,” and elaborate.

    1. ​​Pointing​​
    2. ​​Re: Pointing at things​​
    3. ​​Looking Closely is Everything​​
    • interest
    • curiosity
    • seeing
  • Who has seen the wind?

    A Poem by Christina Rossetti
    www.poetryfoundation.org

    Who has seen the wind?
    Neither I nor you:
    But when the leaves hang trembling,
    The wind is passing through.

    Who has seen the wind?
    Neither you nor I:
    But when the trees bow down their heads,
    The wind is passing by.

    1. ​​The Wind Rises​​
    • wind
    • trees
    • seeing
  • Looking Closely is Everything

    An Essay by Craig Mod
    craigmod.com
    Image from craigmod.com on 2021-03-02 at 11.45.16 AM.jpeg

    Kambara, detail by detail.

    I’d say that that huh is the foundational block of curiosity. To get good at the huh is to get good at both paying attention and nurturing compassion; if you don’t notice, you can’t give a shit. But the huh is only half the equation. You gotta go huh, alright — the “alright,” the follow-up, the openness to what comes next is where the cascade lives. It’s the sometimes-sardonic, sometimes-optimistic engine driving the next huh and so on and so forth.

    1. ​​A little dose of time travel​​
    1. ​​Pointing at things​​
    2. ​​One brick​​
    3. ​​I recommend eating chips​​
    4. ​​Haven't you noticed?​​
    5. ​​The Student, The Fish, and Agassiz​​
    • interest
    • attention
    • seeing
    • curiosity
  • Seeing and Knowing

    An Essay from The Beauty of Everyday Things by Yanagi Sōetsu

    The results of intuition can be studied by the intellect, but the intellect cannot give birth to intuition.

    1. ​​Scholars and critics​​
    2. ​​Understanding its essence​​
    • knowledge
    • intuition
    • seeing
  • 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

  • To see, to caress

    A Quote by Johann Wolfgang von Goethe

    The hands want to see, the eyes want to caress.

    1. ​​The Eyes of the Skin: Architecture and the Senses​​
    • touch
    • seeing

See also:
  1. perception
  2. art
  3. visualization
  4. design
  5. details
  6. information
  7. photography
  8. intuition
  9. knowledge
  10. interest
  11. curiosity
  12. attention
  13. thinking
  14. understanding
  15. beauty
  16. i
  17. learning
  18. instinct
  19. ux
  20. drawing
  21. communication
  22. truth
  23. life
  24. craft
  25. vision
  26. meaning
  27. images
  28. style
  29. writing
  30. constraints
  31. touch
  32. wind
  33. trees
  34. process
  35. fame
  36. food
  37. discovery
  38. hate
  39. making
  40. symbols
  41. change
  1. David Pye
  2. Lawrence Wechler
  3. Robert Irwin
  4. Edward Tufte
  5. Yanagi Sōetsu
  6. John Ruskin
  7. Oliver Reichenstein
  8. Erick Greene
  9. Jenny Keller
  10. Jonathan Kingdon
  11. E. H. Gombrich
  12. Colin Ware
  13. Stephen E. Palmer
  14. Italo Calvino
  15. Le Corbusier
  16. Robert M. Pirsig
  17. Johann Wolfgang von Goethe
  18. Christina Rossetti
  19. Austin Kleon
  20. Craig Mod
  21. Sam Anderson
  22. Samuel H. Scudder
  23. Buster Benson
  24. Steven J. Jackson
  25. Hayao Miyazaki
  26. Paul Valéry
  27. Rob Walker
  28. Michael Compton