tag:blogger.com,1999:blog-85660601872370143922024-03-13T04:35:42.265-07:00Camberwell IllustrationPeter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.comBlogger116125tag:blogger.com,1999:blog-8566060187237014392.post-77920628747121733832013-11-18T09:13:00.003-08:002013-11-18T09:13:39.700-08:00Chinua Achebe: "An Image of Africa: Racism in Conrad's 'Heart of Darkness'" (1977)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-style-span" style="font-family: inherit;">"Africa as setting and backdrop which eliminates the African as human factor. Africa as a metaphysical battlefield devoid of all recognizable humanity, into which the wandering European enters at his peril. Can nobody see the preposterous and perverse arrogance in thus reducing Africa to the role of props for the break-up of one petty European mind? But that is not even the point. The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered and continues to foster in the world. And the question is whether a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, can be called a great work of art. My answer is: No, it cannot". </span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Read the full text </span><a href="http://kirbyk.net/hod/image.of.africa.html"><span class="Apple-style-span" style="font-family: inherit;">here</span></a><span class="Apple-style-span" style="font-family: inherit;">.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-65747541471793019122013-11-18T05:52:00.000-08:002013-11-18T05:54:54.349-08:00Casting Kurtz<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: inherit;">Note: essential that you, individually, move through and beyond these direct and indirect 'castings' of Mr. Kurtz – particularly Kinski and Brando. The idea here is to make plain a method one might apply, in order to see and hear him.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Leonardo da Vinci: </span><span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: inherit;">Study of the effect of light on a profile head (c. 1487–1490).</span></span></div>
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<span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="text-decoration: none;"><a href="http://en.wikipedia.org/wiki/Charles_Manson"><span class="Apple-style-span" style="font-family: inherit;">Charles Manson</span></a></span><span class="Apple-style-span" style="font-family: inherit;">. "From the beginning of his notoriety, a </span><a href="http://en.wikipedia.org/wiki/Popular_culture" style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: initial; background-image: none; background-repeat: initial; color: #0645ad;" title="Popular culture"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">pop culture</span></span></a><span class="Apple-style-span" style="font-family: inherit;"> arose around him in which he ultimately became an emblem of insanity, violence and the </span><a href="http://en.wikipedia.org/wiki/Macabre" style="-webkit-background-clip: initial; -webkit-background-origin: initial; background-attachment: initial; background-color: initial; background-image: none; background-repeat: initial; color: #0645ad;" title="Macabre"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">macabre</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (</span><a href="http://en.wikipedia.org/wiki/Charles_Manson"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">via</span></span></a><span class="Apple-style-span" style="font-family: inherit;">).</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Footage of Klaus Kinski, during filming of Werner Herzog's "</span><a href="http://en.wikipedia.org/wiki/Nosferatu_the_Vampyre"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">Nosferatu the Vampyre</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (1979), a melancholic, lyrical homage to the magnificent "</span><span class="Apple-style-span" style="line-height: 19px;"><a href="http://en.wikipedia.org/wiki/Nosferatu,_eine_Symphonie_des_Grauens"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">Nosferatu, eine Symphonie des Grauens</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (1922), directed by F.W.Murnau.</span></span></div>
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<span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: inherit;">In both versions, a kind of infamy has grown around the relationship between director and lead actor – where the actor and the part also merge. In the case of Murnau's original, Max Shreck is so synonymous with his portrayal of the verminous Count Orlock, that the recent film "</span><a href="http://en.wikipedia.org/wiki/Shadow_of_the_Vampire"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">Shadow of the Vampire</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (2000) suggests — with unsettling humour — that the actor was (indeed) Undead.</span></span></div>
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<span class="Apple-style-span" style="line-height: 19px;"><span class="Apple-style-span" style="font-family: inherit;">Herzog and Kinski's volatile collaboration led to five seminal films, all of which cast Kinski somehow within a Kurtz-like hegemony. Herzog's documentary "</span><a href="http://en.wikipedia.org/wiki/My_Best_Fiend"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">My Best Fiend</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (1999) is the definitive account. </span></span></div>
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<span class="Apple-style-span" style="line-height: 20px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; z-index: 2;"><span class="Apple-style-span" style="font-family: inherit;">Portrait bust of a man</span></span><span class="Apple-style-span" style="font-family: inherit;">, 1st century </span><span class="smallcap" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: uppercase; z-index: 2;"><span class="Apple-style-span" style="font-family: inherit;">B.C.</span></span><span class="Apple-style-span" style="font-family: inherit;">; Republican Roman – from the </span><a href="http://www.metmuseum.org/toah/works-of-art/12.233"><span class="Apple-style-span" style="font-family: inherit;">Metropolitan Museum of Art</span></a><span class="Apple-style-span" style="font-family: inherit;">, New York. "</span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;">Prestige came as a result of age, experience, and competition among equals within the established political system. These are the values expressed in portraits of grim-faced, middle-aged men, such as the one featured here."</span></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Eduardo Paolozzi: "Kardinal Syn" (1984) (via </span><a href="http://www.google.co.uk/imgres?imgurl=http://www.tate.org.uk/art/images/work/T/T06/T06941_10.jpg&imgrefurl=http://www.tate.org.uk/art/artworks/paolozzi-count-basie-t06956&usg=__Nq3ScH8Fqt4ZMar19NAegPfwKpg=&h=1060&w=920&sz=68&hl=en&start=40&sig2=R7L3CKVQ3ubDSTIHglQVzw&zoom=1&tbnid=JFDhhJV0eHop2M:&tbnh=150&tbnw=130&ei=kxiKUtaZFI2BhAeHgoHoAw&prev=/search%3Fq%3Deduardo%2Bpaolozzi%2Bheads%26start%3D20%26client%3Dsafari%26sa%3DN%26rls%3Den%26tbm%3Disch%26prmd%3Divnso&itbs=1&sa=X&ved=0CFIQrQMwEzgU"><span class="Apple-style-span" style="font-family: inherit;">Tate</span></a><span class="Apple-style-span" style="font-family: inherit;">).</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Marlon Brando as Colonel Kurtz, in Francis Ford Copolla's "</span><a href="http://en.wikipedia.org/wiki/Apocalypse_Now"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">Apocalypse Now</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (1979). Here, reading from T.S. Eliot's "</span><a href="http://en.wikipedia.org/wiki/The_Hollow_Men"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">The Hollow Men</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (1925). The poem begins with an epigram, quoting "Heart of Darkness". Later, it references Dante Alighieri's "Inferno" from "</span><a href="http://en.wikipedia.org/wiki/Divine_Comedy"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">The Divine Comedy</span></span></a><span class="Apple-style-span" style="font-family: inherit;">" (c. 1308–1321), as does Conrad throughout the novella.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">"The Hollow Men" resonates with "Heart of Darkness" throughout. For example:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Here the stone images</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Are raised, here they receive</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-19482269493243080662013-05-06T15:03:00.000-07:002013-05-06T15:03:49.842-07:00Non-Euclidean Type<div style="font-family: "Courier New",Courier,monospace;">
<span style="font-size: small;">I just watched that BBC 2 documentary on Non-Euclidean geometry posted earlier, it's great. I could feel my mind start bending a little when they started trying to depict the hypercube. </span></div>
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<span style="font-size: small;">It reminded me of these sketches by David Bennewith for a 3-dimensional typeface, and gets me thinking on where we could begin with depicting a 4-dimensional typeface, with all that fluidity. </span></div>
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<br />Robert Sollishttp://www.blogger.com/profile/03270054147562950734noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-52474494393251157722013-05-03T07:08:00.000-07:002013-05-03T07:46:23.377-07:00Clapping music<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/xhhvgdQs_h4" width="480"></iframe><br />
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<span style="background-color: white;"><span style="font-family: Courier New, Courier, monospace;">In this piece, Reich uses the most fundamental of human attributions, beside the voice, to </span></span><span style="background-color: white; line-height: 19.1875px;"><span style="font-family: Courier New, Courier, monospace;">"create a piece of music that needed no instruments beyond the human body"</span></span><span style="background-color: white;"><span style="font-family: Courier New, Courier, monospace;">. This piece of work, while developed from an intrinsic knowledge of music, is also based on rules, and therefore, patterns. I was struck when revisiting this piece recently, that one could liken this piece to wave interference patterns; those moments where the patterns of the rhythm fall in and out of sequence with each other constructive and destructively, adding to the rhythm, creating moments of quiet.</span></span><br />
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<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; line-height: 19.1875px;">"...one performer claps a basic </span><span style="background-color: white; line-height: 19.1875px;">rhythm</span><span style="background-color: white; line-height: 19.1875px;">, a variation of the fundamental African </span><span style="background-color: white; line-height: 19.1875px;">bell pattern</span><span style="background-color: white; line-height: 19.1875px;"> in 12/8 time, for the entirety of the piece. The other claps the same pattern, but after every 8 or 12 bars s/he shifts by one eighth note to the right. The two performers continue this until the second performer has shifted 12 eighth notes and is hence playing the pattern in </span><span style="background-color: white; line-height: 19.1875px;">unison</span><span style="background-color: white; line-height: 19.1875px;"> with the first performer again (as at the beginning), some 144 bars later."</span></span><br />
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<span style="font-family: Courier New, Courier, monospace;">See also: <a href="http://youtu.be/dXhBti625_s" target="_blank">A juggling interpretation</a> and <span style="background-color: white;"><a href="http://www.youtube.com/watch?v=-mUv705xj3U" target="_blank">György Ligeti's Poème Symphonique For 100 Metronomes</a>.</span></span><br />
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<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white;">– Rosie</span></span>Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-59108818070188641972013-05-03T06:47:00.000-07:002013-05-03T07:46:30.125-07:00The famous couple<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; font-family: 'Courier New', Courier, monospace;">“It was very hard finding this photograph. We needed to navigate the thin channel between full bodily disclosure and NASA’s fear of the adverse publicity generated by sending pictures of naked people into space. Apparently we failed, because this was the only picture in our final image sequence that NASA would not allow on the Record.</span></div>
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</span> <span style="background-color: white; font-family: 'Courier New', Courier, monospace;">I had the idea of drawing silhouettes to accompany selected Voyager photographs in an attempt to help the ETs understand how we see pictures, and the importance of edge-detection in our vision. By maximizing the figure/ground relationship of the important subjects, I hoped the photographs would be easier to understand.</span><br />
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</span> <span style="background-color: white; font-family: 'Courier New', Courier, monospace;">This photograph of a nude human couple was taken by George Hester, a widely respected photographer of nudes. His photograph did not fly but the silhouette did. How mysterious it may seem to ET looking for the photograph that should accompany this silhouette. How will they explain the absence? Is the concept of body taboo even possible for ET to infer?</span><br />
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</span> <span style="background-color: white; font-family: 'Courier New', Courier, monospace;">NASA was less concerned about offending ET’s sensibilities than the reaction of the contemporary audience. They decided that the American public was not ready for full frontal nudity on spacecraft. They worried the public would react negatively and the result would be an unfavorable reaction that would damage NASA.</span><br />
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</span> <span style="background-color: white; font-family: 'Courier New', Courier, monospace;">In almost thirty years of telling this story to audiences of every demographic makeup, I have yet to find a single person who admits to agreeing with NASA’s decision. In fact it has been considered the worst error made in the creation of the Voyager Record.”</span><br />
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<span style="font-family: Courier New, Courier, monospace;">– <a href="http://jonlomberg.com/art_portfolios/ap_famous_couple.html" target="_blank">An account by Jon Lomberg</a></span><br />
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<br />Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-55066837990724369192013-05-03T06:11:00.002-07:002013-05-03T07:46:39.822-07:00Pioneer plaques<br />
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<span style="font-family: Courier New, Courier, monospace;">Designed by Carl Sagan & Frank Drake; artwork by Linda Salzman Sagan.</span></div>
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<span style="font-family: 'Courier New', Courier, monospace;">“The Pioneer plaques (9x6 inches) are a pair of anodized aluminum plaques which were placed on board the 1972 Pioneer 10 and 1973 Pioneer 11 spacecraft, featuring a pictorial message, in case either Pioneer 10 or 11 is intercepted by extraterrestrial life. The plaques show the nude figures of a human male and female along with several symbols that are designed to provide information about the origin of the spacecraft.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">...The Pioneer spacecraft were the first human-built objects to leave the Solar System.”</span><br />
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<span style="font-family: Courier New, Courier, monospace;">The plaque contains within its pictorial symbolism a complex message which assumes a language or method of reading that on the one hand details a scientific methodology for deducing the spacecraft’s origin, and on the other attempts to convey something elementary about the life-form that is the cause of its existence. It is at once minutely specific and also metaphorical; on the left hand side, it details a radial pattern which stand for “periods of pulsars, using the hydrogen spin-flip transition frequency as the unit” and on the right, the naked white Occidental man raises his hand in good will. We have paired ourselves down to our most simplified and elementary components as a way of revealing something essential about humankind, but what are we really conveying about ourselves?</span><br />
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<span style="font-family: Courier New, Courier, monospace;">See also: Edward Tufte's <a href="http://www.edwardtufte.com/tufte/space" target="_blank">redesign of the plaque</a>, <a href="http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html" target="_blank">the voyager golden record</a> and <a href="http://en.wikipedia.org/wiki/Arecibo_message" target="_blank">the Arecibo message</a>.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">– Rosie</span></div>
Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-773900588366323292013-05-02T10:35:00.000-07:002013-05-03T07:47:04.243-07:00Resources from Lecture 3: Electricity<div style="background-color: white; color: #222222;">
<span style="font-family: Courier New, Courier, monospace;">Educational films explaining the physical principles behind sound waves, their generation and manipulation:</span></div>
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<span style="background-color: white; color: #222222;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;">The Nature of Sound (1948)</span></span><br />
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<span style="background-color: white; color: #222222;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Sound Waves and Their Sources (1933)</span></span><br />
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<span style="font-family: Courier New, Courier, monospace;">An overview of concepts in electricity, covering topics such as electric charge, current and conductivity, electric and magnetic force:</span></div>
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<span style="font-family: Courier New, Courier, monospace;">An educational film showing the creation of magnetic fields through electrical current:</span></div>
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<span style="font-family: Courier New, Courier, monospace;">An educational film covering phenomena such as reflection and refraction of light, focussing and the principles of cameras:</span></div>
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<span style="font-family: Courier New, Courier, monospace;">A historical overview of color and the associated physical principles of light. The film is split in six parts:</span></div>
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<span style="background-color: white; color: #222222;"><span style="font-family: Courier New, Courier, monospace;">A public lecture by Richard Feynman explaining the wave-particle duality and its role in quantum mechanics:</span></span><br />
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<span style="background-color: white; color: #222222; font-family: 'Courier New', Courier, monospace; font-size: x-small;">Richard Feynman: Probability and Uncertainty – The Quantum Mechanical View of Nature (1964)</span><br />
<br />Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-91531681496956662142013-05-01T07:37:00.000-07:002013-05-03T07:47:18.069-07:00Using light to talk about light<br />
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<span style="font-family: 'Courier New', Courier, monospace;">Ask yourself: what does this piece explain (if anything) about the physical nature of light? Furthermore, what can art do to the function and meaning of an object?</span><br />
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<span style="font-family: Courier New, Courier, monospace;">Art behaves and explores topics very differently than science. Artists can be as ambiguous as they like (if they like), they invite open interpretation in an individual’s theoretical framework, as well as without a framework. Art is free to be totally ambiguous and misleading, it can mean whatever the viewer thinks or wants it to mean as well as what the artist intended it to mean at the same time. Is falsifiability impossible in establishing meaning in art? Is there a spectrum of this impossibility (if any at all) if we include illustration and information design? </span></div>
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<span style="font-family: Courier New, Courier, monospace;">As for science, although experiments, theoretical reasoning and discourse can yield very ambiguous and strange results, the way scientists invite interpretation is concerned with inviting <em>contestation</em> and matching an interpretation against a distinct, descriptive, theoretical framework based on mathematics, logic, empiricism and falsibiablility. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">Where and how can art and science overlap? How (if at all) do they both attempt to repudiate the notion of universal facts and truths? Both art and science are concerned with critical enquiry i.e. re-think this light bulb as a functional object , re-think its properties or re-think the physical nature of light. How do both art and science contest epistemological justification, representationalism, and the notion of epistemic objectivity?</span></div>
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Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-90278068407009232222013-05-01T04:36:00.000-07:002013-05-03T07:47:30.047-07:00The face on mars<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: justify;"><span style="font-family: Courier New, Courier, monospace;">The original image taken by the Viking 1 orbiter in 1976.</span></td></tr>
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</span></span> <span style="background-color: white;"><span style="font-family: Courier New, Courier, monospace;">Humans have always projected their own hopes and fears onto interstaller objects like this famous cultural anthropomorphism. As a social species we are particularly hard-wired to recognise faces. Perhaps this is the reason why Jesus pops up on a piece of toast, or a giant face emerges out from the shadows of arbitrarily arranged Mars rocks.</span></span><br />
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</span> <span style="background-color: white; font-family: 'Courier New', Courier, monospace;">NASA used the likeness to their advantage, as a way to garner interest in Mars. They even suggested themselves in the 1976 press release: "</span><span style="font-family: Courier New, Courier, monospace;">The picture shows eroded mesa-like landforms. The huge rock formation </span><span style="font-family: 'Courier New', Courier, monospace;">in the center, which resembles a human head, is formed by shadows </span><span style="font-family: Courier New, Courier, monospace;">giving the illusion of eyes, nose and mouth." </span><span style="background-color: white; font-family: 'Courier New', Courier, monospace;"> When NASA returned to Mars in 1997, they felt they owed it to the taxpayer and reshot this famous image. With better quality equipment,</span><span style="background-color: white; font-family: 'Courier New', Courier, monospace;"> the mystery disappears. No human head, no alien monument. Just a natural landform. </span><br />
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</span> <span style="font-family: 'Courier New', Courier, monospace;">Read more about </span><a href="http://science.nasa.gov/science-news/science-at-nasa/2001/ast24may_1/" style="font-family: 'Courier New', Courier, monospace;" target="_blank">unmasking the face on Mars</a><span style="font-family: 'Courier New', Courier, monospace;">.</span><br />
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<br />Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-58655555674846676202013-04-30T05:23:00.000-07:002013-05-03T07:47:46.566-07:00Making sand swim<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-size: 12px; text-align: start;"><span style="font-family: Courier New, Courier, monospace;">Klaus Weber <i>Sand Fountain </i>(2012)</span></span></td></tr>
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<span style="font-family: Courier New, Courier, monospace;">Klaus Weber's piece <a href="http://friezeprojectseast.org/artists/klaus-weber/" target="_blank">Sand Fountain</a> is both transformative and oppositional – encouraging a reconsideration (among other things) of what a fluid is, even if water is wet and sand is dry – if one can be substituted by the other then what exactly is the difference?</span></div>
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<span style="font-family: Courier New, Courier, monospace;">The falsification criteria that Malte spoke about is also concerned with being oppositional, exploring where our theories and ideas about the world break down and where they hold their own. </span></div>
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<br />Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-41827447212989529202013-04-29T06:03:00.002-07:002013-05-03T07:48:02.887-07:00Sun, Planet, Moon<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 'Courier New', Courier, monospace;"><a href="http://phet.colorado.edu/en/simulations/category/physics" target="_blank">The PhET project</a> at the University of Colorado have a huge range of interactive simulations which help to visualise some difficult concepts. Above is a screen shot of </span><a href="http://phet.colorado.edu/sims/my-solar-system/my-solar-system_en.html" style="font-family: 'Courier New', Courier, monospace;" target="_blank">'My Solar System'</a><span style="font-family: 'Courier New', Courier, monospace;"> describing orbits and gravitational pull of massive bodies; of the Moon around the Earth and the Earth and Moon around the Sun. </span><br />
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Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-91916401281947020742013-04-29T05:19:00.001-07:002013-05-03T07:48:26.034-07:00Science fiction: Asking questions to the future<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/jb7gspHxZiI" width="640"></iframe><br />
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<span style="font-family: 'Courier New', Courier, monospace; font-size: 13.63636302947998px; line-height: 17.27272605895996px;">Latest since the industrial revolution, the cultural significance of science has become impossible to miss. It has transformed our lives beyond recognition and is continuing to do so at an ever increasing speed. The technologies we create change the way we interact with the world. Through the internet we have created means of communication that are dissolving our traditional notions of time and information. Before we have even come close to understanding its significance for the coming generation, this piece of technology itself has already transformed again and is now delocalised and touchable on a smart phone. How will this development change our view of the world? Will we be able to keep up with our own progress? Through science and technology, we have not only achieved a greater understanding of the world around us, we have also become able to shape it. But what happens when we do it?</span></div>
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<span style="background-color: white;"><span style="font-family: Courier New, Courier, monospace;">Science fiction often attempts to trace out the answers without us even asking. Which way will tomorrow’s technology pave for us? What role will it play in the future of our society? As complex and speculative as these questions are, we cannot hide from them. In many science fiction stories this becomes most strikingly obvious when artificial intelligence enters the stage. We may be able to avoid asking ourselves the question what we want to do with our technology. But should we ever build an intelligent machine, it will do it for us. From ‘Odyssey 2001’ to ‘Blade Runner’ and Isaac Asimov’s short stories, once the future itself asks us how we got there, we better come up with a good answer.</span></span><br />
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<span style="font-family: Courier New, Courier, monospace;">– Malte</span>Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-14399187180328194542013-04-29T04:57:00.000-07:002013-05-03T07:48:45.901-07:00Signs of the Fourth Dimension<br />
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</span></span> <span style="background-color: white;"><span style="font-family: Courier New, Courier, monospace;"><span style="line-height: 18px;">In this lecture author and professor at the University of Texas, </span><a href="http://www.utexas.edu/finearts/aah/about/people/linda-henderson" style="line-height: 18px;" target="_blank">Dr. Linda Dalrymple Henderson</a><span style="line-height: 18px;">, discusses the subject of her book </span><i style="line-height: 18px;">'The Fourth Dimension and Non-Euclidian Geometry'</i><span style="line-height: 18px;">, pictured below. In it, she traces a parallel development between developments in geometry and modern art.</span></span></span><br />
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</span></span></span> <span style="background-color: white;"><span style="font-family: Courier New, Courier, monospace;"><span style="line-height: 18px;">Non-euclidian geometry required a shift in how we perceive and understand the space we live in, from assumptions based on immediate perception and human experience to concepts which are no longer derived from human experience and intuition. You can draw two parallel lines on a piece of paper and they will never meet, but draw those two lines across the surface of the spherical Earth and they will curve and meet. Henderson argues that this development, with the possibility of a spatial fourth dimension "</span></span></span><span style="background-color: white; font-family: 'Courier New', Courier, monospace;">encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism."</span><br />
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<span style="font-family: Courier New, Courier, monospace;">More on Non-Euclidean Geometry: </span><br />
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</span></span>Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-51286870787048849202013-04-26T02:17:00.001-07:002013-04-26T02:18:57.645-07:00Whipple, Wave Machine<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmCcKttNz3kq5S6dgC7jq5tqUZ_RxYyD5ZidtiatADSOPdlLMMX0l21TiaNeKpNzuLvSpYJzKl3ZoPOXU6_Gwes7vPdugK_5tFSy7GVUWwC6OAQkUaah2UgIrewoogYpGu69pO_5o6CPs/s1600/Powell+Wave+Machine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmCcKttNz3kq5S6dgC7jq5tqUZ_RxYyD5ZidtiatADSOPdlLMMX0l21TiaNeKpNzuLvSpYJzKl3ZoPOXU6_Gwes7vPdugK_5tFSy7GVUWwC6OAQkUaah2UgIrewoogYpGu69pO_5o6CPs/s1600/Powell+Wave+Machine.jpg" /></span></a></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">A late C19th model to demonstrate how waves move; made by the Elliott Brothers, to a design by Baden Powell ((1796-1860) – the father of Robert, founder of the scout movement). An interactive animation </span><a href="http://www.hps.cam.ac.uk/whipple/explore/flashpages/wavemachine/"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">here</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXWsD0HTGeT8YNTKA4_7AbClQmV4RS45-5ab-JnRJVSmBKwwz4Yyi9NARb14whGJf31eJt5i_HH_1-MR71SYThboyubgyN82a7hXotnAReCGfmhBSLJfdPyHlk-66HpuAPKU21_9X9MC4/s1600/parabolic_mirrors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXWsD0HTGeT8YNTKA4_7AbClQmV4RS45-5ab-JnRJVSmBKwwz4Yyi9NARb14whGJf31eJt5i_HH_1-MR71SYThboyubgyN82a7hXotnAReCGfmhBSLJfdPyHlk-66HpuAPKU21_9X9MC4/s1600/parabolic_mirrors.jpg" /></span></a></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">This — and other explanatory scientific models — can be seen at the seemingly wonderful University of Cambridge </span><a href="http://www.hps.cam.ac.uk/whipple/explore/models/"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Whipple Collection</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">. Here — with a linking thought on the 'sculpting' or 'choreography' of sound waves — an unattributed pair of </span><a href="http://www.hps.cam.ac.uk/whipple/explore/acoustics/parabolicsoundmirrors/"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">parabolic sound mirrors</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">, again late C19th.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTGMu5KCoTo7L1R2FrAf1txpGndXG2Px0TDjZbFL9AAK9rhy2VPAtM_TwV_Ck1jwpswFVsA8vDiUYSnldZ6KSGyXZu-7lWGqgw_EE6KqXVwvste6GzRrz0JgIT00V_80E9Cy2fgQD7Zg/s1600/Sound_Mirrors_8a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTGMu5KCoTo7L1R2FrAf1txpGndXG2Px0TDjZbFL9AAK9rhy2VPAtM_TwV_Ck1jwpswFVsA8vDiUYSnldZ6KSGyXZu-7lWGqgw_EE6KqXVwvste6GzRrz0JgIT00V_80E9Cy2fgQD7Zg/s1600/Sound_Mirrors_8a.jpg" /></span></a></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">The principles apply through a history of use, from these almost Neolithic, pre-radar wartime sound mirrors (via </span><a href="http://weburbanist.com/2009/12/27/sound-mirrors-before-radar-hearing-was-believing/?ref=search&utm_campaign=googimages&utm_source=images&utm_medium=other"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Web Urbanist</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">) to today's satellite dishes.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmeVe2F487bUh5IOqoD2F79LOLQHycCUbWmlK6h3XRq4o-ANT-U5Drfcjxta59NTquY9R4x209K4YYuON3xMB9yJTX0Q2k5FFwS6ddULmEWT2yUxi86MSHb3s67E0UTyZAlKzFCU4zeR4/s1600/Sound_Mirrors_3a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmeVe2F487bUh5IOqoD2F79LOLQHycCUbWmlK6h3XRq4o-ANT-U5Drfcjxta59NTquY9R4x209K4YYuON3xMB9yJTX0Q2k5FFwS6ddULmEWT2yUxi86MSHb3s67E0UTyZAlKzFCU4zeR4/s1600/Sound_Mirrors_3a.jpg" /></span></a></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Some lovely examples collected by Web Urbanist, for example this Czech 'acoustic detector', c. 1920.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-13089143893587109082013-04-20T13:31:00.000-07:002013-04-20T13:34:19.662-07:00Dimensional Space <br />
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<tr><td class="tr-caption" style="text-align: center;">Duccio di Buoninsegna, (c1308-11) Christ's entry into Jerusalem, panel from the Maesta, Museo dell'Opera Metropolitana del Duomo, Siena</td></tr>
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In this small panel from the Maesta, Christ and his disciples approach the gate to Jerusalem greeted by a crowd. Some naturalistic depiction of objects and space is employed, though not linear perspective. In the Mediaeval manner Christs's disciples are huddled together because they are a group, similarly the crowd at the gate.<br />
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Essentially, Duccio's painting reflects an Aristotelian view of space, in which individual objects contain space, but no universal interconnecting (or abstract) dimensional space exists into which objects may be placed.<br />
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For more of my thoughts on dimensional space, see <a href="http://criticism-and-interpretation.wikispaces.com/Space+-+dimensional">http://criticism-and-interpretation.wikispaces.com/Space+-+dimensional</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-64008202309873130392013-04-17T10:45:00.000-07:002013-05-03T07:48:59.037-07:00Invisible Structures<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<span style="font-family: Courier New, Courier, monospace;">"Visualization is not simply a mediation between an independent world and a human perceiver. An image does not stand between the thing itself and a knowing subject. The selection of specimen, sites, the re-ordering of fields into grids, the operations of tagging, encoding, and marking, these activities reach into the world, arrange it in a pose, and cultivate its accountability. These artifices do not necessarily negate the world's natural accountability, although in some cases they are blamed for distortions and illusions. Instead, they are the very means through which natural order is revealed, ordered, compared, encoded, and quantified. Consequently, in answer to the question of what studies of visualization are about, we can say that they are about the production of scientific reality."</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Michael Lynch, "Visual Cultures of Science" (2006)</span></div>
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Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-80243402570995804222013-04-17T10:41:00.002-07:002013-05-03T07:49:22.112-07:00Jiggling Atoms<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/aXtnYnoutKk" width="480"></iframe>
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<span style="font-family: Courier New, Courier, monospace;">Every project we do seems to start with Richard Feynman, and this series, called <i>Fun to Imagine</i>, is where we also derived our name. Feynman was not just a wonderful teacher, but was also a tremendously gifted theoretical physicist; he worked on the atomic bomb, got the Nobel prize in 1965 and also played the bongos (amongst other things). But of course, most importantly for us, it's his incredible gift for explaining physics to non-scientists. All from the seat of his armchair, watch how he reveals with such wonderful poetry and insight about "the unbelievable nature of nature".</span><br />
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<br />Jiggling Atomshttp://www.blogger.com/profile/06691665323131123278noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-86276883187495055442012-10-09T00:10:00.001-07:002012-10-11T21:50:50.407-07:00Modelmaking: ad-hoc to slick<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeuT_vbz5fe8LR3KoC8YXLV-6a-xmb1_92uKPg851uqXGjopXPAt5UaOnCTg_8aBxG4vRfOgkrgytKwWI2v8-3StRM3bbUse8C6xFy4l32Lt2UIgwIHGf8LAV5jFj-aNZKCxGJ-WFOg0/s1600/tumblr_m6y8sbYXww1qln4yro1_1280.jpg" imageanchor="1" style="clear: left; float: left; font-family: "Courier New",Courier,monospace; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeuT_vbz5fe8LR3KoC8YXLV-6a-xmb1_92uKPg851uqXGjopXPAt5UaOnCTg_8aBxG4vRfOgkrgytKwWI2v8-3StRM3bbUse8C6xFy4l32Lt2UIgwIHGf8LAV5jFj-aNZKCxGJ-WFOg0/s400/tumblr_m6y8sbYXww1qln4yro1_1280.jpg" width="400" /> </a><span style="font-family: "Courier New",Courier,monospace;"> </span></div>
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<span style="font-family: "Courier New",Courier,monospace;">Herzog & De Meuron: <i>Vitrahaus </i></span><i><span style="font-family: "Courier New",Courier,monospace;">Gingerbread</span></i><span style="font-family: "Courier New",Courier,monospace;"><i> </i>(2010), via </span><a href="http://archimodels.info/page/6" style="font-family: "Courier New",Courier,monospace;">Archimodels</a><span style="font-family: "Courier New",Courier,monospace;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2TN_2muxynp2r8nb1BJj6VEwQuUSNYr4JBgKulI1d5XD-zILDkH9XlqW0wrJIN6cIh6VpdyH3xee5CqHhmpGnsLx2D-XpNWUq1M0JrFSW1VYyM6nvCrNprYxlYucisgKxFg3D5SKSNo/s1600/original_285605_WZ2JBOUUL9qvohUFDX5NPNYEE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2TN_2muxynp2r8nb1BJj6VEwQuUSNYr4JBgKulI1d5XD-zILDkH9XlqW0wrJIN6cIh6VpdyH3xee5CqHhmpGnsLx2D-XpNWUq1M0JrFSW1VYyM6nvCrNprYxlYucisgKxFg3D5SKSNo/s400/original_285605_WZ2JBOUUL9qvohUFDX5NPNYEE.jpg" width="400" /></a><span style="font-family: "Courier New",Courier,monospace;"> </span></div>
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<span style="font-family: "Courier New",Courier,monospace;">From the excellent book, <a href="http://www.amazon.co.uk/Folding-Architecture-Structural-Organizational-Diagrams/dp/9063690592"><i>Folding Architecture; Spatial, Structural and Organisational Diagrams</i></a> (<a href="http://www.coroflot.com/kristiweyrens/A-Place-to-Grieve-An-Interior-Design-Thesis">via</a>)<i>.</i></span></div>
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<span style="font-family: "Courier New",Courier,monospace;">Future Systems, Amanda Levete:<i> Tombstone </i>(2005), via <a href="http://collection.cooperhewitt.org/objects/18760611/">The Smithsonian</a>. The object formed of laser-sintered polyamide (nylon).</span></div>
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<span style="font-family: "Courier New",Courier,monospace;">From Stina Ekman's<i> Gitter </i>(1985); "an intuitive exploration of the number of sculptures contained within the cube 60 x 60 x 60". She works through three materials: bronze, aluminium and balsa wood, working directly by carving and indirectly by casting.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-85612582806169341432012-04-20T06:39:00.003-07:002012-04-21T00:39:37.171-07:00Bi Four: Superimpositions, Transformations<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="color: #444444; white-space: pre-wrap;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Ingmar Bergman's </span><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Persona</span></i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> (1966).</span></span><br />
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<span class="Apple-style-span" style="clear: left; float: left; font-family: 'Courier New', Courier, monospace; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghZy8BAy5_1oqku_Uyh3yg32p8RGr-NZl339JTduhlelbQN4yjAAr8q9VExct8Aci0Mw8i0GxjTrGSgS-_0lsJ1td5S3qtmCgGOaR5VXEMYL2VzBjAspIHTiLlod92yVIhWcWZo724ZSY/s640/Picture+221.png" width="640" /></span><span class="Apple-style-span" style="color: #444444;"><span class="Apple-style-span" style="white-space: pre-wrap;"><span class="Apple-style-span" style="color: black; white-space: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghZy8BAy5_1oqku_Uyh3yg32p8RGr-NZl339JTduhlelbQN4yjAAr8q9VExct8Aci0Mw8i0GxjTrGSgS-_0lsJ1td5S3qtmCgGOaR5VXEMYL2VzBjAspIHTiLlod92yVIhWcWZo724ZSY/s1600/Picture+221.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span" style="font-size: large;"></span></span></a></span></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-family: 'Courier New', Courier, monospace; white-space: pre-wrap;">With Bibi Andersson —</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">— and —</span></div>
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<span class="Apple-style-span" style="clear: left; float: left; font-family: 'Courier New', Courier, monospace; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj69QfWNkMRGMR5ePb84KhzWlTMbL-_Vr4ldgtP3QGhfmHDf1imn1Ynq-KZ1h4AjyZyFmqlLBB0Gi6X0hciLXX0g6caLlUi-e42y2V64fymzp5gnBi7gDtonNUO_YYMD5t46Vw5f-_5YTQ/s640/Picture+231.png" width="640" /></span><span class="Apple-style-span" style="clear: left; float: left; font-family: 'Courier New', Courier, monospace; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: #444444; white-space: pre-wrap;">— Liv Ulmann.</span></span></div>
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<span class="Apple-style-span" style="color: #444444; white-space: pre-wrap;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Walt Disney's </span><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Pinocchio</span></i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> (1940).</span></span></div>
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<span class="Apple-style-span" style="color: #444444; white-space: pre-wrap;"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">John S. Robertson's</span><i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> Dr. Jekyll and Mr. Hyde</span></i><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"> (1920), with the magnificent John Barrymore.</span></span></div>
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</div>Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com1tag:blogger.com,1999:blog-8566060187237014392.post-62206374537961852012012-04-17T01:14:00.002-07:002012-04-17T01:14:54.574-07:00Bi Three<div dir="ltr" style="text-align: left;" trbidi="on">
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</div>Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-40536672346363986572012-04-17T00:39:00.001-07:002012-04-17T00:45:38.000-07:00Bi Two<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-75495554087872483212012-04-17T00:37:00.000-07:002012-04-18T23:38:36.653-07:00Bi One<div dir="ltr" style="text-align: left;" trbidi="on">
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</div>Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-8566060187237014392.post-9851893430446149722012-01-20T08:42:00.000-08:002012-01-20T08:43:35.859-08:00Luke on crane.tv<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">Crane.tv paid Luke a studio visit recently. Interesting thoughts on his working roots and balance. And a little tribute to all of you towards the end.</span><br />
<br /></div>Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com1tag:blogger.com,1999:blog-8566060187237014392.post-53329018085518705362012-01-03T14:24:00.000-08:002012-01-14T05:14:31.955-08:00David Hockney's Bigger Picture<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/28508515?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<span style="font-size: x-small;">David Hockney interview from <a href="http://vimeo.com/royalacademy">Royal Academy of Arts</a> on <a href="http://vimeo.com/">Vimeo</a></span>.<br />
<br />
David Hockney's major new exibition opens at the Royal Academy on January 21st. He is an artist who works within the Renaissance tradition of depiction, with those central concerns of nature, space and time, and, as in this forthcoming show, the tradition of the landscape. But he is also an artist who has embraced new technology; photography, fax, and now the iPad. I have always admired him - his draftsmanship, his thoughtfulness, and even his humour. <br />
<br />
Last week (26 Dec 2011) <a href="http://www.bbc.co.uk/programmes/b018g2yz" target="_blank">BBC Radio 4 devoted a <i>Start the Week</i> programme to Hockney</a>, discussing his latest work. The in-depth interview by Andrew Marr was both revealing and fascinating. He spoke about drawing, about observation of nature, the benefit and the excitement of seeing consecutive springtimes at the same place over a number of years. It showed the depth of his engagement with his subject.<br />
<br />
<br />
He had a lot to say about technology, and it is apparent that the use of computer technology has become integrated into his process of picture making, even when the result is painting. David Hockney has always been interested in technology, not for its own sake, but in furthering his picture making.<br />
<br />
The camera is one example of his embracing of technology and investigation of picture making. 'Photography is not a final reaching of reality. Technology is opening something up, we are able to alter pictures.' He also noted that 'Cameras give you a certain type of view, but it’s not the human view.'<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br />
<a href="http://www.hockneypictures.com/images/3-works/3-photos/collages/large/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="191" src="http://www.hockneypictures.com/images/3-works/3-photos/collages/large/06.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="style2 style5" style="font-size: xx-small;">David Hockney (1983). Walking In The Zen Garden, Ryoanji Temple, Kyoto
1983<br /><span class="style6"><span class="style8">photographic collage, 40 x 62
<span class="style9">1/2</span> in</span>. <a href="http://www.hockneypictures.com/photos/photos_collages_06.php">http://www.hockneypictures.com/photos/photos_collages_06.php</a></span></span></td></tr>
</tbody></table>
The photomontage
works he has produced over many years (see the example above) are, he
said, a type of drawing with the camera. (Hockney is perhaps unusual in
appreciating that we have not yet exhausted cubism any more than we
have exhausted Renaissance perspective).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://wwwimg.bbc.co.uk/programmes/i/512xn/f11b28a2e586a3017ad932e490ddc80eb46f1fc5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://wwwimg.bbc.co.uk/programmes/i/512xn/f11b28a2e586a3017ad932e490ddc80eb46f1fc5.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="clearfix content">
<span style="font-size: xx-small;">David Hockney (2011) The arrival of spring in Woldgate, East Yorkshire in 2011</span>
<br />
<span style="font-size: xx-small;">ipad drawing printed on paper </span><br />
<span style="font-size: xx-small;">144.4 x 108.3
cm</span><br />
<span style="font-size: xx-small;"></span><br />
<span style="font-size: xx-small;">© David Hockney</span><br />
<span style="font-size: xx-small;"> </span><a href="http://wwwimg.bbc.co.uk/programmes/i/512xn/f11b28a2e586a3017ad932e490ddc80eb46f1fc5.jpg" target="_blank">http://wwwimg.bbc.co.uk/programmes/i/512xn/f11b28a2e586a3017ad932e490ddc80eb46f1fc5.jpg</a></div>
</td></tr>
</tbody></table>
His latest work uses the iPad, both as a part of the process and as an end in itself - 'the luminous screen' - and the RA exhibition will feature some of his iPad drawings (see above). He is also showing film of this English landscape shot with an array of 18 cameras.<br />
<br />
For me Hockney's approach encapsulates the paradoxical relationship with the world which we can now enjoy (and I do mean enjoy) - he embraces the latest technology whilst, at the same time, acknowledging the importance of craft and of 'the hand'. He cited a Chinese saying: 'In drawing you need the hand, the eye and the heart. Two won’t do!'. And he spoke about the importance of craft in the work of the artist. 'I would say the hand counts, there’s a whole group of other people who say it doesn’t, it’s a little bit insulting to craftsmen isn’t it?' And this aspect of craft has an importance for pedagogy, he maintained:<br />
<br />
<blockquote class="tr_bq">
<blockquote class="tr_bq">
'I used to point out, in an art school, you can teach the craft. It’s the poetry you can’t teach, but now they try and teach the poetry and forget the craft. It’s craft that can be taught.' </blockquote>
</blockquote>
Food for thought... perhaps, to some extent, one can teach, or at least encourage and facilitate, the poetry (not forgetting of course that there is also a 'craft' to poetry). But Hockney poses here the interesting question of just where that balance lies between the poetry and the craft in the teaching of art.<br />
<br />
He related a story about his Mother coming to his exhibition at which there was a sculptural piece by Barry Flannagan whichcontained a large rope. 'Did he make the rope?' his Mother asked...<br />
<br />
<b>Bibliography</b><br />
<i>Start the week: David Hockney Special </i>(2011). BBC Radio 4. Monday 26 December. 45 minutes. Available at <a href="http://www.bbc.co.uk/programmes/b018g2yz">http://www.bbc.co.uk/programmes/b018g2yz</a> (Accessed 4 Jan 2012)<br />
Royal Academy of Arts (2011). <i>David Hockney RA: a bigger picture</i>. Interview. Royal Academy of Arts Video online. <a href="http://www.royalacademy.org.uk/exhibitions/hockney/">http://www.royalacademy.org.uk/exhibitions/hockney/</a> (Accessed 4 Jan 2012)<br />
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<b>Links & information</b><br />
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<li> You can listen to the BBC interview with David Hockney at <a href="http://www.bbc.co.uk/programmes/b018g2yz%20" target="_blank">http://www.bbc.co.uk/programmes/b018g2yz </a></li>
<li>David Hockney RA: A Bigger Picture can be seen at the Royal Academy from 21 January to 9 April 2012. Advance booking is recommended. <a href="http://www.royalacademy.org.uk/exhibitions/hockney/">http://www.royalacademy.org.uk/exhibitions/hockney/</a></li>
<li><a href="http://www.hockneypictures.com/home.php">http://www.hockneypictures.com/home.php</a></li>
<li>See also Peter Nencini's reflections on the handmade and the digital in this <a href="http://camberwellillustration.blogspot.com/2009/01/permutation.html" target="_blank">earlier post on Camberwell Illustration</a> </li>
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<b>Further publications</b><br />
Wroe, N (2012) <i>David Hockney: a life in art. </i>The Guardian (Review), Jan 14, <Available online at> <a href="http://www.guardian.co.uk/culture/2012/jan/13/david-hockney-life-in-art">http://www.guardian.co.uk/culture/2012/jan/13/david-hockney-life-in-art</a> (Accessed 14 Jan 2012)<br />
<div class="stand-first-alone" id="stand-first">
'The iPad is like an endless piece of
paper that perfectly fitted the feeling I had that painting should be big'says Hockney in this <i>Guardian</i> interview.</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8566060187237014392.post-18352344425621027192011-11-30T13:37:00.000-08:002012-01-04T13:30:54.941-08:00PostmodernismPostmodernism: style and subversion. 1970-1990<br />
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<span style="font-family: courier new;">(<a href="http://www.vam.ac.uk/content/exhibitions/postmodernism/">Victoria and Albert Museum, to 15 January 2012</a>)</span></div>
<blockquote style="font-family: courier new;">
We look at the present through a rear-view mirror.<br />
We march backwards into the future.<br />
(McLuhan and Fiore 1996: 75)</blockquote>
<span style="font-family: courier new;">It is difficult, as Marshall McLuhan observed, to understand the times we are living in. And perhaps it is only now that we have some chance of really understanding, in retrospect, the phenomenon that became known as ‘Postmodernism.’</span><br />
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The exhibition <span style="font-style: italic;">Postmodernism: style and subversion. 1970-1990</span><br />
(Victoria and Albert Museum, to 15 January 2012), attempts to lend some coherence to the subject of postmodernism, by presenting a broad survey of design and art from these two decades (and a little before). In this it is broadly successful, and the curators, Glenn Adamson and Jane Pavitt, deserve credit, I believe for a largely coherent treatment of postmodernism through selection and exhibition of a wide range of works from architecture, art and design.<br />
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The exhibition does of course have some of the disadvantages of a survey, a widely cast net and consequent lack of depth in any one discipline, along with a sense of works being highly filtered and selected, which a focus on a more narrow field could have avoided. But it also has the merits of a survey – a broad and inclusive treatment, and a certain didactic clarity. And there is still a focus, appropriate to the V&A, which is, of course, design.<br />
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There are, as the curators explain in the catalogue essay, exceptions – notably for me, the literary, since one might argue that postmodernism sprang at least as much from literature as from architecture.<br />
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There is also an odd paradox, the careful arrangement of the exhibition, more or less, into disciplines – e.g. architecture, graphic design, furniture (though with thematic connections that also cross the disciplines). And a greater paradox of the seeming use of chronology – a paradox because the synchronic, and a notion of the ‘end of history’ (Fukuyama) was a feature of the postmodern. History is back now. And probably modernism too – architecture has long spoken of the ‘neo-modern’ and Bourriaud has coined the term ‘Alter-modern’ for our present times. Perhaps the modern never really went away – except that today’s modernism can not be like that of the 1960s...</div>
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<a href="http://www.design-technology.org/teapot.jpg%20" style="font-family: courier new;"><img alt="" border="0" src="http://www.design-technology.org/teapot.jpg" style="cursor: pointer; float: left; height: 205px; margin: 0pt 10px 10px 0pt; width: 230px;" /></a><br />
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<span style="font-size: 78%;"><br /><br />Ettore Sottsass (1969). Teapot</span><br />
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Ettore Sottsass’s (1972) Basilico Teapot Prototype, in painted wood, encountered in the first room of the exhibition, seemed to set the tone well (the above image is an earlier version). A playful application of architectural form to a domestic object – light hearted and yet, oddly alien. Ironic, and quoting history with little sense of any weight of that history – a basilica turned teapot.<br />
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<a href="http://0.tqn.com/d/architecture/1/0/s/G/vannaventurihouse-ppl.jpg"><img alt="" border="0" src="http://0.tqn.com/d/architecture/1/0/s/G/vannaventurihouse-ppl.jpg" style="cursor: pointer; float: left; height: 296px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
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<span style="font-size: 78%;"><br /><br />Venturi R (1964) Vanna Venturi House</span><br />
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Robert Venturi’s (1959-1964) Model of Vanna Venturi House also gave insight into the origins of the postmodern. Not far off the modern at all, and yet, it had subverted the archetypal house by absurd shifts of scale and distortions of conventional form. And a slightly surprising arc, decorating the facade, interrupted the otherwise linear forms – the arc itself broken by a jarring interruption of the facade that penetrated the interior space. (Venturi’s book Learning from Las Vagas is very illuminating about postmodern architecture).<br />
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<a href="http://25.media.tumblr.com/tumblr_ksqvya72to1qzz5i6o1_500.jpg"><img alt="" border="0" src="http://25.media.tumblr.com/tumblr_ksqvya72to1qzz5i6o1_500.jpg" style="cursor: pointer; float: left; height: 700px; margin: 0pt 10px 10px 0pt; width: 464px;" /></a><br />
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<span style="font-size: 78%;">Brodsky and Utkin (1989) <span style="font-style: italic;">Columbarium Habitabile. </span>Etching http://25.media.tumblr.com/tumblr_ksqvya72to1qzz5i6o1_500.jpg </span><br />
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Other pieces that caught my eye included Paolini’s Arte Povera work L’altra figura (1984) and the fantasy architecture of Alexander Brodsky and Ilya Utkin with their Soviet era etching Columbarium habitabile (1989) – a ‘reservation for old houses and their inhabitants in a large modern city.’<br />
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Aside from seeing new works (and the show had an exciting global scope) I was struck by a number of themes. Firstly the impact of architecture – that often escaped architecture itself – (Pieter de Bruyne’s (1975) Chantilly Chest, and other furniture and domestic objects had strongly architectural feel). A second theme that came over well was bricolage – the idea of working with ‘oddments left over from human endeavours’ (Levi Strauss - exhibition notes). And, thirdly, a comment by my colleague Mary Kuper, who noted that postmodernism seemed to be marked by an almost complete separation of form and function (in contrast of course to the marriage of form and function in the modern). This is somehow where the question of style comes in. Bricolage – a cobbling together of diverse elements – became an often jarring aesthetic choice in itself. But the separation of form and function, and the eclectic quoting from the past, without worrying too deeply about historic significance, lent itself to a playful approach to style, and the playing on style, seemingly for its own sake, that at times amounted to enthusiastic and guilt-free stylisation. Style is a complex question, and one to which we will return in future...</div>
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<span style="font-style: italic;">Postmodernism</span> is a rewarding and often surprising exhibition.<br />
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<span style="font-weight: bold;">Bibliography</span><br />
McLuhan M. & Fiore Q.(1996) <span style="font-style: italic;">The medium is the massage. </span>London: Penguin<br />
Venturi R. (1977).<i><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"> </span></span></span>Learning from Las Vegas.</i> Cambridge MA: MIT Press</div>
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</div>Unknownnoreply@blogger.com0