… apparently this written formula has ended up for me:) Will be back as soon as I figure out something new. Probably…
“Smile, breathe and go slowly.” – Thich Nhat Hanh
… apparently this written formula has ended up for me:) Will be back as soon as I figure out something new. Probably…
“Smile, breathe and go slowly.” – Thich Nhat Hanh
This is an interesting visualization of the whole science (or almost whole:). The image was constructed by sorting roughly 800,000 scientific papers into 776 different scientific paradigms (shown as red and blue circular nodes) based on how often the papers were cited together by authors of other papers. Links (curved lines) were made between the paradigms that shared common members, then treated as rubber bands, holding similar paradigms closer to one another when a physical simulation forced them all apart: thus the layout derives directly from the data. Larger paradigms have more papers. Labels list common words unique to each paradigm. Readable in close-up here:
(via metamodern)
Incredible MoMa always builds a kind of a virtual gallery when they organize important exhibition, and although the Bauhaus: 1919-1933: Workshops for modernity event is over, one may bite into history of this famous and influential school via special site with timeline of the most important works. The site is a beautiful and well-organized journey into modernity.
Indeed, Bauhaus was the most influential school of avant-garde art, design and architecture. Founded 1919 by an architect Walter Gropius Bauhaus made its home in three German cities: Weimar, Dessau and Berlin, had three directors: Gropius, Hannes Meyer and Ludwig Mies van der Rohe. The Bauhaus brought together artists, architects, and designers in an extraordinary conversation about the nature of art in the age of technology. Aiming to rethink the very form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped our visual world today. Other importane names of Bauhaus school include: Anni Albers, Josef Albers, Herbert Bayer, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lucia Moholy, Lilly Reich, Oskar Schlemmer, and Gunta Stölzl—but also a broad range of works by innovative but less well-known students, suggesting the collective nature of ideas.
We should watch carefully and acknowledge our failures, because they may occur more important to us than the success. Accept defeat, says the fabulous article in Wired magazine.
Kevin Dunbar is a researcher who studies how scientists study things — how they fail and succeed. Philosophers have long theorized about how science happens, but Dunbar wanted to get beyond theory. He wasn’t satisfied with abstract models of the scientific method — that seven-step process we teach schoolkids before the science fair — or the dogmatic faith scientists place in logic and objectivity. Dunbar knew that scientists often don’t think the way the textbooks say they are supposed to. He suspected that all those philosophers of science — from Aristotle to Karl Popper — had missed something important about what goes on in the lab. Dunbar’s findings stated that science is a deeply frustrating pursuit. Although the researchers were mostly using established techniques, more than 50 percent of their data was unexpected. (In some labs, the figure exceeded 75 percent.)
How did the researchers cope with all this unexpected data? How did they deal with so much failure? Dunbar realized that the vast majority of people in the lab followed the same basic strategy. First, they would blame the method. Then the experiment would be repeated. This is when things get interesting. According to Dunbar, even after scientists had generated their “error” multiple times — it was a consistent inconsistency — they might fail to follow it up.“People have to pick and choose what’s interesting and what’s not, but they often choose badly.” And so the result was tossed aside, filed in a quickly forgotten notebook. The scientists had discovered a new fact, but they called it a failure.
The reason we’re so resistant to anomalous information — the real reason researchers automatically assume that every unexpected result is a stupid mistake — is rooted in the way the human brain works. Over the past few decades, psychologists have dismantled the myth of objectivity. The fact is, we carefully edit our reality, searching for evidence that confirms what we already believe. Although we pretend we’re empiricists — our views dictated by nothing but the facts — we’re actually blinkered, especially when it comes to information that contradicts our theories. The problem with science, then, isn’t that most experiments fail — it’s that most failures are ignored. But the unexpected result could be the major breakthrough in particular scope, so we should keep our eyes open.
Excerpt from interview with Jessa Crispin from Bookslut.com: “I was having a conversation with a writer the other day, and he stated that the best things are always by-products. Happiness is a by-product, and I loved that he said that. You can plot your journey to success or happiness or wealth or whatever it is you’re looking for, but if you’re too focused on the end result, you’re going to miss anything good going on around you.” Although obvious, yet worth repeating.
(via bobulate)
“An artist’s only concern is to shoot for some kind of perfection, and on his own terms, not anyone else’s.” J.D.Salinger

(photo: TimeMagazine cover, 1961)

(Wabi-Sabi: For Artists, Designers, Poets & Philosophers, by Leonard Koren)
Wabi-sabi is the essence of Japan. The art of finding beauty in imperfection and profundity of nature. It means accepting the life cycle – growth, decay and death. It is simple. It is slow and pure. It reveres authenticity above all. Wabi-sabi are all the changes that appear on things with time and use – crack, crevices, rust, spots, frayed edges. Marks of time are are kind of quiet beauty – beauty that waits to be discovered.
It is a fragmentary glimpse: the branch representing the entire tree, shoji screens filtering the sun, the moon 90 percent obscured behind a cloud. It is a richly beauty that is striking but not obvious. For Japanese it is the difference between kirei – just pretty – and omoshiroi, the interestingness that kicks something into the realm of beautiful (Omoshiroi literally means “white faced”, but it’s meanings range from fascinating to fantastic).
D.T. Suzuki described wabi-sabi as “an active aesthetical apprectation of poverty”, with “poverty” having more romantic meaning like being satisfied with the little hut, a room of two tatami mats, like the log cabin of Thoreau. Wabibito means a person free at heart. Simple, unmaterialistic, humble by choice and in tune with nature.
Wabi stems form the root wa, which refers to harmony, peace, tranquility and balance. A common phrase used in conjunction with wabi is “the joy of the little monk in his wind-torn robe”:) A wabi person is free from greed, indolence and anger and understands the wisdom of rocks and grasshoppers. Sabi by itself means “the bloom of time”. It connotes natural progression-tarnish, hoariness, the extinguished gloss, the understanding that the beauty is fleeting. It is a gift of time, an aching poetry in things that carry their years with grace.
1950 now-famous “Lecture on Nothing” by John Cage exemplifies his outlook on art and music. Cage inspired artists such as Rauschenberg and Kelly, whom he made friends with in 1949, to approach their art without preconceived ideas and with great openness. Actually, it was probably mutual influence taking into consideration “White Paintings” by Rauschenberg (below) and 4’33” by Cage.

At the beginning of this lecture, Cage tells the listener that the lecture has no point and will go nowhere :) “I am here and there is nothing to say. If among you are those who wish to get somewhere, let them leave at any moment” (Cage Silence 109). He implores the audience to enjoy each and every moment of the lecture even though he admits that it is pointless. Asks why are we the Westerners forced to see value only in things seeming to have deep meaning or that have eventual goals or aims? “Our poetry now is the realization that we possess nothing. Anything therefore is a delight (since we do not possess it) and thus need not fear its loss” (Silence 110). Openness to new things, pure openness, I just love his way of thinking and feeling.
But it is a below excerpt I wanted to dedicate to the New Year Twenty.Ten:
“I begin to hear the old sounds – the one that had thought worn out, worn out by intellectualization – I begin to hear the old sounds as though they are not worn out. Obviously, they are not worn out. They are just as audible as the new sounds. Thinking had worn them out. And if one stops thinking about them, suddenly they are fresh and new.”
Well, I wish you all the ability to see old things in fresh perspective, not worn out.
Yeah, hilarious! :) I LOVE that version.
“Is it a beaver or is it really my hair?” :D
(thx to @inoutin)
Laika is a dynamic font which changes its shape and appearance based on a broad spectrum of inputs developed by Michael Flückiger and Nicolas Kunz for their thesis at Bern University of the Arts in Switzerland. Like the idea.
LAIKA from Michael Flückiger on Vimeo.