February 18th, 2011

in brainbows

Proto magazine has some gorgeous images and representations of brain structures. Above is “Broad Overview [of a Human Hippocampus],” Tamily Weissman, Jeff Lichtman and Joshua Sanes, 2005.

It was the hippocampus as no one had ever seen it, illuminated in radiant hues. The image is called, aptly, a Brainbow, the colors serving a scientific purpose by highlighting specific neural structures. Yet their choice also reflects an artistic bent; scientists display the brain not the way it is (an undifferentiated gray) but the way we want to see it, “painted” with bursts of fluorescent color.

Below is “Olfactory Bulb [of a Dog],” by Camillo Golgi, pen and ink on paper, 1875.

More at Proto magazine.

February 11th, 2011

an example of making anything signify anything

For much of his long and largely secret career, Colonel William F. Friedman kept a very special photograph under the glass plate that covered his desk. As desks go, this one saw some impressive action. By the time he retired from the National Security Agency in 1955, Friedman had served for more than thirty years as his government’s chief cryptographer, and—as leader of the team that broke the Japanese PURPLE code in World War II, co-inventor of the US Army’s best cipher machine, author of the papers that gave the field its mathematical foundations, and coiner of the very term cryptanalysis—he had arguably become the most important code-breaker in modern history.1

At first glance, the photo looks like a standard-issue keepsake of the kind owned by anyone who has served in the military. Yet Friedman found it so significant that he had a second, larger copy framed for the wall of his study. When he looked at the oblong image, taken in Aurora, Illinois, on a winter’s day in 1918, what did Friedman see? He saw seventy-one officers, soon to be sent to the war in France, for whom he had designed a crash course on the theory and practice of cryptology. He saw his younger self at one end of the mysterious group of black-clad civilians seated in the center; and at the other end he saw the formidable figure of George Fabyan, the director of Riverbank Laboratories in nearby Geneva, where Friedman found not just his cryptographic calling but also his wife Elizebeth (flanked here by two other instructors from Riverbank’s Department of Ciphers). And he saw a coded message, hiding in plain sight. As a note on the back of the larger print explains, the image is a cryptogram in which people stand in for letters; and thanks to Friedman’s careful positioning, they spell out the words “KNOWLEDGE IS POWER.” (Or rather they almost do: for one thing, they were four people short of the number needed to complete the “R.”)

The photograph was an enduring reminder, then, of Friedman’s favorite axiom—and he was so fond of the phrase that some fifty years later he had it inscribed as the epitaph on his tomb in Arlington National Cemetery.2 It captures a formative moment in a life spent looking for more than meets the eye, and it remained Friedman’s most cherished example of how, using the art and science of codes, it was possible to make anything signify anything.

More at cabinetmagazine via 3qd.

February 4th, 2011

the van gogh cake company

Google has a new project that allows you to “virtually” visit art galleries around the world and view super high resolution photos of paintings. You can zoom in so close that Van Gogh’s Starry Night starts to look like cake icing. So close that you can go for a walk in the woods in the background of Bruegel’s The Harvesters.

February 1st, 2011

flowering kales

Wiki:

Many varieties of kale are referred to as “flowering kales” and are grown mainly for their ornamental leaves, which are brilliant white, red, pink, lavender, blue or violet in the interior or the rosette. Most plants sold as “ornamental cabbage” are in fact kales. Ornamental kale is as edible as any other variety, provided it has not been treated with pesticides or other harmful chemicals.

Kale is undervalued.

December 21st, 2010

the wine shop

Edward Hopper, 1909.

December 18th, 2010

designer snowstorm


“A careful study of this internal structure not only reveals new and far greater elegance of form than the simple outlines exhibit, but by means of these wonderfully delicate and exquisite figures much may be learned of the history of each crystal, and the changes through which it has passed in its journey through cloudland. Was ever life history written in more dainty hieroglyphics!” (Duncan Blanchard, 1970)

There’s a whole database of meticulously catalogued snowflake forms at the Schwerdtfeger Library

(via designsquish).

December 11th, 2010

a cat from deergrass

A cat from deergrass, sticks and maple seeds.

I love the resourcefulness of these DIY toys, made from the materials of nature. The illustrations are also charming in themselves. The resulting products are all the more charming and special because of their limited lifespans and their fragility.

Autumn was perhaps the best time for these. But the principle of resourcefulness is unseasonal.

(via designsquish)

November 24th, 2010

wayne thiebaud


Blue Hill. 1967, Wayne Thiebaud (b. 1920).

This retrospective book has some paintings of his I love but cannot find online in good quality, like Orange Grove (1966), Diagonal Ridge (1968), Coloma Ridge (1967), Ribbon Store (1957), Pinball Machine (1956), Sleeping Figure (1959), Study for Bluffs (1967), Hillside (1963), Half Dome & Cloud (1975), Caged Pie (1962), Five Hot Dogs (1961), Cigar Counter (19??), and Beach Boys (1959).

October 8th, 2010

A Vineyard Walk, Lucca (1874)

More John Ruskin paintings. Thanks Alice for the heads up.

October 5th, 2010

about suffering

Click to Enlarge.

Above: Brueghel’s The Fall of Icarus (1558). The painting is a scene of everyday life in which Icarus’ personal tragedy is given a tiny corner by the artist (see his white legs disappearing into the water in the bottom right corner). The painting is kept at the Museum of Fine Art in Brussels.

W.H. Auden wrote a poem inspired by the painting and named the poem after the museum in which it hangs:

Musée des Beaux Arts

About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.

In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.

This was given as an example of intertextuality in my first literature class.

September 28th, 2010

penny university

Image: Discussing the war in a Paris Café, 1870. Frederick Barnard (1846-1896)

Penny University is a term originating from the eighteenth century coffeehouses in London, England. Instead of paying for drinks, people were charged a penny to enter a coffee house. Once inside, the patron had access to coffee, the company of others, various discussions, pamphlets, bulletins, newspapers, and the latest news and gossip. Reporters called “runners” went around to the coffee houses announcing the latest news, perhaps not too unlike what we might hear on the TV or the radio today.

This environment attracted an eclectic group of people that met and mingled with each other at these coffee houses. In a society that placed such a high importance on class and economic status, the coffee houses were unique because the patrons were people from all levels of society. Anyone who had a penny could come inside. Students from the universities also frequented the coffee houses, sometimes even spending more time at the shops than at school.

Since that time, various coffee shops all over the world have used the name “Penny University”.

The original sense, of a coffee house, probably grew out of a common experience: that you came out of a coffeehouse feeling ten times as smart as you were when you went in (as Montesquieu observed in The Persian Letters). As, indeed, wide-ranging conversations ensued therein, from the commercial (leading to the founding of, in London, Lloyd’s of London, and in New York, the New York Stock Exchange) to the political, and the purely intellectual; the idea that one could acquire an education for the price of a cup of coffee, that is, a penny, took hold of the poetic imagination.

Penny University at Wikipedia. Thanks Alice for the link!

September 23rd, 2010

art is love is art is whatever

Milton Glaser speaks about art as a cultural unifier, about teaching art, and about holding on to your “capacity for astonishment”.

(via grafischontwerpgent.be)

September 18th, 2010

rakefingers

Above is a birch letter from the 13th century found at Novgorod, Russia. Wiki:

Birch-bark letter no. 202 contains spelling lessons and drawings made by a boy named Onfim; based on draftsmanship, experts estimate his age as between 6 and 7 at the time.

Birch Bark Document @ Wikipedia

There are thousands more examples from Novgorod, like letter 292, which contains an epigrammatic invocation against lightning.

September 17th, 2010

look at the size of that sensor…!

The Phantom HD GOLD High Speed Digital Cinema Camera from Tom Guilmette on Vimeo.

Camera porn: Tom Guilmette explores the features of one of the most powerful (and expensive, at $2,500 to rent for a single day) digital movie cameras, the Phantom HD. (via petapixel)

September 8th, 2010

basket and broom

This vendor doesn’t only sell baskets and brooms (箒), but also brushes, sieves (笊), ladles (杓) and more, all piled up high on his cart, called a daihachiguruma (大八車). To protect himself from the elements, he is wearing a broad bamboo hat, known as a bachoukasa (バッチョウ笠). Vendors like him used special calls to make potential customers aware of their arrival.

Photo of a basket and broom seller, Japan 1890s (via Old Photos of Japan).

August 23rd, 2010

blake keeps it jazzy

Blake by Blake.

Quentin Blake on illustrating Roald Dahl’s The BFG:

Sometimes the writer even makes changes to the story if the pictures seem to need it. For example, in the original version of The BFG, the giant was wearing a big leather apron and knee-length boots. They were only mentioned once, but of course they had to appear in every drawing. However when I did the first drawings, Roald felt that the apron got in the way when the giant moved and ran and jumped, and that the boots were just dull. So we sat down round the dining table to rethink the costume. But we couldn’t agree what the BFG should wear on his feet. Several days later I received through the post a rather oddly-shaped and oddly wrapped brown paper parcel. Unwrapping it revealed a large sandal – one of Roald’s own, which is what the BFG now wears.

Blake’s website is full of interesting information like that about his work and his process, all in interview format.

I like his approach to the process of illustration:

I do a free-wheeling sort of drawing that looks as if it has been done on the spur of the moment, although in reality it’s not quite like that. I start with lots of roughs – some of which turn out to be quite close to the finished drawing, and some of which are discarded. For a book there’s lots of planning. What goes on which page? Do the actions carry on from one picture to another? Do the characters still look the same on each page?

For about twenty years I’ve used a lightbox, which I find really useful. On the light box I put the rough drawing I’m going to work from, and on top of that, a sheet of watercolour paper. Ready to hand is a bottle of waterproof black ink and a lot of scruffy looking dip pens. What happens next is not tracing; in fact it’s important that I can’t see the rough drawing underneath too clearly, because when I draw I try to draw as if for the first time; but I can do it with increased concentration, because the drawing underneath lets me know all the elements that have to appear and exactly where they have to be placed.’

From Quentin Blake.com.

August 16th, 2010

oat harvest

An arresting scene photographed in the late nineteenth century by Norwegian photographer Axel Theodor Lindahl (wiki).

Unlike many of his contemporary photographers who emphasized the dramatic nature of Norwegian landscapes, Lindahl sought in his composition the harmonious aesthetic of his subject matter.

I found the photo at wikipedia. It’s in the public domain.

August 11th, 2010

Daytona Beach 1904

A Floridian beach view from 1904, thanks to Shorpy. Click the image to enlarge for glorious details.






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