For those of you not familiar with the site significantobjects.com, the goal of the site was to see if given significance, random everyday objects could take on objective significance, as well. As the site explains:
A talented, creative writer invents a story about an object. Invested with new significance by this fiction, the object should — according to our hypothesis — acquire not merely subjective but objective value. How to test our theory? Via eBay!
As demonstrated from some of the entries, these objects are not “rare” or “important” objects by any means. In fact a lot of the times these objects are purchased from thrift stores or garage sales for just a couple of bucks (max). A “fictional” account of the object’s significance is added and then sold and bought on eBay – usually purchased for way more than the item was originally worth. But what I find fascinating about this experiment is that it is purposefully doing something that we often do without thinking about it – that is, adding significance to objects. This led me to question, what is significance and how/why is it important for our understanding of object-oriented philosophy?
Significant Objects is an interesting experiment, although I would argue that a lot of the significance created around these objects comes from the fact that they are featured on the website as part of the project, and not necessarily from the made-up stories.
Film projectors (as well as film cameras, processing equipment, etc.) use a special mechanism called a Geneva drive to ensure one whole frame is advanced at a time, instead of simply spooling a film continuously. Wikipedia:
The name derives from the device’s earliest application in mechanical watches, Switzerland and Geneva being an important center of watchmaking. The geneva drive is also commonly called a Maltese cross mechanism due to the visual resemblance.
In the most common arrangement, the driven wheel has four slots and thus advances for each rotation of the drive wheel by one step of 90°. If the driven wheel has n slots, it advances by 360°/n per full rotation of the drive wheel.
The device itself is beautiful in its simplicity. There are two variations on the drive (external and internal). More at wikipedia.
Food expenditure for one week: 1,233.76 Yuan or $155.06
Favorite foods: fried shredded pork with sweet and sour sauce
Seeing the weekly diet of families all around the world gives an insight into how much we and our diet are affected by economic, social, and political factors. Reasonpad blog:
Come see What The World Eats. A few years ago photographer Peter Menzel and his wife Faith D’Aluisio started to photograph what family’s around the globe eat and wrote down what their weekly expenditure is. In 2005 they published an award winning book called Hungry Planet: What The World Eats.
This project turned out to be so educational that he’s currently still giving lectures at universities about this very subject. A current exhibition is held until May 9, 2010 is hosted by the Bell Museum of Natural History at the University of Minnesota.
As you look at the photographs and see what they spend per week, you can draw a lot of different conclusions about their dietm their surroundings, their personal/economic circumstance and how globalization has influenced what people eat.
Reasonpad have put all the images from this Time article on one page, and provided the info for how much was spent, where the families are from, etc.
I enjoyed this segment on Channel 4 news a couple of days ago and noticed just now that some lovely person has uploaded it to YouTube. Illustrator Ronald Searl has turned ninety and has some stories to tell us over a glass of champagne.
Here’s a post more selfish than usual; only Dutch speakers can appreciate it.
The poem Marc groet ’s morgens de dingen (“Marc greets the things in the morning”), by the famous Flemish poet Paul van Ostaijen, is a fun poem to read aloud and is largely meaningless, so a translation is no good. Ploem ploem.
No, Time, thou shalt not boast that I do change:
Thy pyramids built up with newer might
To me are nothing novel, nothing strange;
They are but dressings of a former sight.
Our dates are brief, and therefore we admire
What thou dost foist upon us that is old,
And rather make them born to our desire
Than think that we before have heard them told.
Thy registers and thee I both defy,
Not wondering at the present nor the past,
For thy records and what we see doth lie,
Made more or less by thy continual haste.
This I do vow and this shall ever be;
I will be true, despite thy scythe and thee.
She leaves the room. Onegin writhes
On stage, ashamed of his emotion.
He scorned her as a young girl.
Now he’s mad about her! But she’s
Married, rich, so stern and cold. . .
I lean forward in my opera seat.
There goes me. And isn’t that
Every man I loved in vain?
The cast bows to wild applause.
Our Tatyana smiles, steps forward
To catch a bouquet of red roses.
I button my coat, grab my purse,
And make my slow way down the aisle
Of well-dressed, gray-haired couples
Watching their steps with downcast eyes.
I bet I’m not alone in wishing
I could go back in time, and break
A few cold hearts that broke mine
With all my hard won understanding
Of the game of love, its rules
And stratagems, and power plays.
Then through the open lobby doors
Where the crowd hesitates, tying
Scarves or pulling on wool gloves,
I see the promised snow’s begun
And someone’s whistling an aria
From the first act. A sweet joy
Rushes through me. No, of course
I’d fall in love the same way.
I’d make every great mistake
I could, and earn this lovely moment
Walking home through fresh snow
My head full of unsingable music,
Remembering this one and that one
Who made me feel by feeling nothing.
The poet has written many short stories and, to me, this poem is like a short story in pill form; it’s concentrated, poetic storytelling.
(via how a poem happens blog, where there’s also some info about the poet and an interview regarding this poem.)
On a night-time drive recently with my father I was struck by what a different mood and sense of space was given to the otherwise familiar country lanes in the dusk light. More intimate, peaceful… they had an entirely different character.
Henri Le Sidaner had a knack for capturing this phenomenon of light and mood in his paintings. And not just dusk light.
French painter and pastel artist Henri Le Sidaner (Eugéne Augustin) began academic training at the l’École des Beaux-Arts in Paris, briefly studying under Alexandre Cabanel, but soon rejected that pursuit in favor a fascination with the paths into broken color and light being blazed by the Impressionists.
Le Sidaner is best known as an Intimist painter. Intimism is one of the less familiar of the “isms”, whose primary proponents were Pierre Bonnard and édouard Vulliard. Other practitioners include Edmond Aman-Jean.
It was essentially a form of genre painting that in some ways bridged Post-Impressionism and Symbolism, borrowing the broken color and flurry of almost Pointillist brushstrokes from the former, and the emotional content from the latter.
The name refers to the frequent subjects of quiet room interiors, intimate garden scenes and small views of landscape. Le Sidaner often portrayed table settings in gardens, soft nocturnes, and almost tonalist scenes of canals and waterways.
Unlike the Impressionists, who sought to portray light with fidelity to nature, La Sidaner and the other Intimists put their intense strokes of color in service of the emotion or mood with which they wished to infuse the scene.
Widely regarded as the world’s most influential living psychologist, Daniel Kahneman won the Nobel in Economics for his pioneering work in behavioral economics.
Using examples from vacations to colonoscopies, Nobel laureate and founder of behavioral economics Daniel Kahneman reveals how our “experiencing selves” and our “remembering selves” perceive happiness differently. This new insight has profound implications for economics, public policy — and our own self-awareness.
It’s easy to dismiss science fiction and other genre movies (and books, and games) as mindless entertainment. But the reason for the popularity of Star Wars, Twilight, and Lord of the Rings can’t simply be that our culture craves vapid adventure stories to while away the idle hours. I think we consume these modern epics because, for many of us, traditional institutions don’t cut it anymore. Church, family. and government once handed over fairly rigid instructions on “how to live”: how to be a good citizen, neighbor, spouse, or parent. The cultural revolution of the 1960s and ’70s changed all that. Vietnam, political assassinations, government corruption, and the rise of the corporate state left us suspicious of conventional authority and religion. We got jaded.
Is it no wonder, then, that many now seek moral guidance and spiritual example not in mosques and chapels, but huddled in darkened movie theaters or bathed in the holy glow of our Blu-rays? Our new gods and priests might be writers, movie directors, and actors. When, in The Lord of the Rings, Sir Ian McKellen as Gandalf the wise intones to Frodo, “All we have to decide is what to do with the time that is given to us,” it’s hard not to prick up our hobbity ears and nod our heads in agreement. Yes, that’s damned good advice. And for many of us, it’s guidance much easier to swallow than the kind shouted from the pulpit on a Sunday morning.
Mihyang Kim, Self-Portrait in October 2009. Acrylic on canvas | 2009 | 61 x 71 cm
My work is about nature and the human body. Painting nature and the human body is the easiest way to express my ideas because I grew up in the countryside and I am a nurse. I am inspired by nature and organic shapes and vivid colors that can be found in the outside world and biological bodies. I think nature and human bodies live in co-existence with each other. My work has common themes of balance and co-existence. The balance found in nature and also the fight for balance and co-existence in human life or political struggles.
The excellent Psyblog has a fascinating post on cognitive dissonance. It picks apart a deliciously deceptive 1959 psychological experiment in order to help us understand how and why we lie to ourselves when confronted with opposing ideas/feelings that we desire to be reconciled.
The ground-breaking social psychological experiment of Festinger and Carlsmith (1959) provides a central insight into the stories we tell ourselves about why we think and behave the way we do. The experiment is filled with ingenious deception so the best way to understand it is to imagine you are taking part. So sit back, relax and travel back. The time is 1959 and you are an undergraduate student at Stanford University…
Now did I really think that was a fascinating post or have I just convinced myself of that? Well I’m quite sure it’s genuinely interesting and worth a read. :)
The Boston Globe has an interesting bio of phsychologist Ellen Langer:
Langer is a famous psychologist poised to get much more famous, but not in the ways most researchers do. She is best known for two things: her concept of mindlessness – the idea that much of what we believe to be rational thought is in fact just our brains on autopilot – and her concept of mindfulness, the idea that simply paying attention to our everyday lives can make us happier and healthier. She was Harvard’s first tenured woman professor of psychology, and her discoveries helped trigger, among other things, the burgeoning positive-psychology movement. Her 1989 book, “Mindfulness,” was an international bestseller, and she remains in high demand as a speaker everywhere from New York’s 92d Street Y to the leadership guru Tony Robbins’s Fiji resort. And now a movie about her life is in development with Jennifer Aniston signed on to star as Langer.
While other researchers might blanch at the Hollywoodization of their work, for Langer it’s almost an organic development – part of a long journey to bring the message of her research to the masses. Langer’s reputation in the field of social psychology rests on a set of ingenious experiments that expose the strange power of the mind to fool itself and to transform the body. In one of her best-known studies, she found that giving nursing home residents more control over their lives made them live longer. In more recent work, she made hotel maids lose weight simply by telling them that their work burned as many calories as a typical workout. And in the study at the center of the Aniston movie, a team led by Langer found that instructing a group of elderly men to talk and act as if they were 20 years younger could reverse the aging process.
