762 Matching Annotations
  1. Apr 2023
    1. So what does a conscious universe have to do with AI and existential risk? It all comes back to whether our primary orientation is around quantity, or around quality. An understanding of reality that recognises consciousness as fundamental views the quality of your experience as equal to, or greater than, what can be quantified.Orienting toward quality, toward the experience of being alive, can radically change how we build technology, how we approach complex problems, and how we treat one another.

      Key finding Paraphrase - So what does a conscious universe have to do with AI and existential risk? - It all comes back to whether our primary orientation is around - quantity, or around - quality. - An understanding of reality - that recognises consciousness as fundamental - views the quality of your experience as - equal to, - or greater than, - what can be quantified.

      • Orienting toward quality,
        • toward the experience of being alive,
      • can radically change
        • how we build technology,
        • how we approach complex problems,
        • and how we treat one another.

      Quote - metaphysics of quality - would open the door for ways of knowing made secondary by physicalism

      Author - Robert Persig - Zen and the Art of Motorcycle Maintenance // - When we elevate the quality of each our experience - we elevate the life of each individual - and recognize each individual life as sacred - we each matter - The measurable is also the limited - whilst the immeasurable and directly felt is the infinite - Our finite world that all technology is built upon - is itself built on the raw material of the infinite

      //

  2. Mar 2023
    1. “The hardest thing I’ve learned over the years is that I’m getting paid a lot of money to produce a movie, but sometimes the best thing to do is nothing,” he told The New York Times in 1992, when he was making “Hoffa.” “I don’t need to impose myself.”Nonetheless, he knew he played a vital role.“It’s the creative urge that makes me work,” he told American Film magazine for a 1988 article. “The pleasure is, to some extent, vicarious, but it’s no less creative for that. It is creating a world by bringing together creative financing with creative filmmakers. In a sense, producing can be compared to conceptual art.”
  3. Feb 2023
    1. all the data about how people how much 00:30:19 people ask for the values become creates a ranking of values according to the culture to the people so if you're from korea from taiwan from uk 00:30:32 from from italy uh it's different and so this is a periodic table of values where the values are organized in a hierarchy based on how people collect them 00:30:44 and and and then the values become of course words and this is a calligraphy of values that result from the process of using eeg
      • values from different culture are displayed via eeg

      -Comment - this display would make an excellent BEing journey to explore perspectival knowing, situatedness and the misunderstandings that emerge from different ways of seeing the world, different meanings attached to the same words, and different saliencies and priorities

    2. in korea during uh idea 2019 and at the end of the process what you 00:29:00 have designed the 3d model uh you you get you get a qr code and you cannot have it on a wallet and it's registered on the blockchain and so you can start trading 00:29:12 so just imagine that you trade happiness you trade love anarchy art autonomy peace purity you trade them as values becoming value 00:29:24 having a value and so people can decide by battering swapping them if you want if you want peace and love for power
      • in Korea in 2019, Maurice installed as display using QR codes and Blockchain to explore transactions of values
    3. the public is invited to use eeg headband and this is a show in a in taipei mocha taipei and they have to give 00:28:08 shape to human abstractions and even to human values so to give shape is not giving shape by designing but giving shape by assessing the shape 00:28:20 so is the appreciation of the shape according to a concept a human concept
      • another of Maurice's installation uses = EEG headbands
      • to give shapes to concepts

      • Comment

        • this is quite literally neuroart
    4. i'll ask now maurice to tell us a bit about his work
      • = Maurice Benayoun
      • describes his extensive history of cognitive science infused art installations:
      • cognitive art,
      • VR art,
      • AR art and
      • art infused by AI (long before the AI artbots became trendy)
      • title = What can cognitive science bring to art and museums?

      • Comment = Maurice Benayoun has applied cognitive science, VR and AR too many at installations throughout his life.

    5. we start 00:15:48 two new big projects sponsored um with a lot of money to study art in the real world here in vienna
      • two projects sponsored that studies art in the real world in vienna:
        • small at installations on the streets
        • written text in everyday Life
    6. to guide you through this 00:06:24 model very quickly was first published in 2004 it's a lot cited in the field of empirical aesthetics it tries to explain how we process artworks by claiming that there are perceptual analyzers followed by 00:06:38 implicit memory integrations or familiarity aspects then explicit classifications where the perceiver in his perception perceives the style or the content 00:06:51 and then followed by later stages that we called cognitive mastering
      • Cognitive science model of what happens in the brain of a perceiver of art
      • The model was first published in 2004 it's cited often in the field of empirical aesthetics
      • it tries to explain how we process artworks by claiming that:
        • there are perceptual analyzers followed by
        • implicit memory integrations or familiarity aspects then
        • explicit classifications where the perceiver in his perception perceives the style or the content
        • followed by later stages that we called cognitive mastering
    7. cognitive scientists can also provide museums and artists with a specific understanding of how the interaction between artworks and viewers can operate 00:02:34 so to discuss potential applications of cognitive sciences to museums and art
      • cognitive science can provide museums and artists with a specific understanding
      • of how the interaction between artworks and viewers can operate
      • this meeting explores potential applications of cognitive sciences to museums and art
    1. Döring, Tanja, and Steffi Beckhaus. “The Card Box at Hand: Exploring the Potentials of a Paper-Based Tangible Interface for Education and Research in Art History.” In Proceedings of the 1st International Conference on Tangible and Embedded Interaction, 87–90. TEI ’07. New York, NY, USA: Association for Computing Machinery, 2007. https://doi.org/10.1145/1226969.1226986.

      This looks fascinating with respect to note taking and subsequent arranging, outlining, and use of notes in human computer interaction space for creating usable user interfaces.

    1. Simultaneously, it showcases how little actually has changed with therise of digital platforms, where some scholars have sought to build software edifices toemulate card index systems or speak of ‘paper-based tangible interfaces’ for research(Do ̈ring and Beckhaus, 2007; Lu ̈decke, 2015).

      Döring, T. and Beckhaus, S. (2007) ‘The Card Box at Hand: Exploring the Potentials of a Paper-Based Tangible Interface for Education and Research in Art History’. Proceedings of the First International Conference on Tangible and Embedded Interaction, Baton Rouge, Louisiana, February 15-17, 2007. New York, ACM, pp. 87–90.

      Did they have a working system the way Ludeke did?

    1. https://www.cyberneticforests.com/ai-images

      Critical Topics: AI Images is an undergraduate class delivered for Bradley University in Spring 2023. It is meant to provide an overview of the context of AI art making tools and connects media studies, new media art, and data ethics with current events and debates in AI and generative art. Students will learn to think critically about these tools by using them: understand what they are by making work that reflects the context and histories of the tools.

    1. Logging some keywords here for later cross referencing.

    2. The linocut medium is especially prevalent in the Torres Strait,where a handful of pioneering artists have mastered the art of printmaking (Robinson2001)
    3. Art is often focused on aesthetic, but more importantly, it is avisual embodiment of knowledge.
    4. And yes, it is also very pretty.

      understated quote of the day

    5. Hamacher, Duane W. “The Art of Star Knowledge.” In 65,000 Years: A Short History of Australian Art, edited by Judith Ryan and Marcia Langton. Melbourne, Australia: University of Melbourne Press, 2023. https://www.academia.edu/96537139/The_Art_of_Star_Knowledge.

    1. Dall-E is actually a combination of a few different AI models. A transformer translates between that latent representation language and English, taking English phrases and creating “pictures” in the latent space. A latent representation model then translates between that lower-dimensional “language” in the latent space and actual images. Finally, there’s a model called CLIP that goes in the opposite direction; it takes images and ranks them according to how close they are to the English phrase.

      How Dall-E works

  4. Jan 2023
    1. One might call pirate legends, then, the most importantform of poetic expression produced by that emerging North Atlanticproletariat whose exploitation laid the ground for the industrialrevolution.
    1. I also have printed photos in my architecture and uniform section. And one or two memes that illustrate points very well 👀

      Example of someone who reports printed photos and even memes in their zettelkasten.

    1. humans know more about the surface of Mars than the ocean floor.

      Is this why we have more art that alludes to space than the deep sea? If so, why are we more willing to travel via sea rather than space?

    2. When I think about the blue goo, I think about how wonderful it is that we share some ancientancestor yet found ourselves on such divergent evolutionary paths. It’s funny that we call thesecreatures aliens; we know about them only because they exist on this planet, alongside us — ourfutures entangled together.Imbler 4

      In reading this piece from Imbler and the overarching tone and movement of her article, I couldn't help but think of a discourse in the series Ted Lasso (Jason Suedeikis, AppleTV). Over a game of darts, Lasso talks about the need to "be curious, not judgmental." A simple suggestion, not dissimilar to the one put forth by Imbler, but one that points towards a deeper, more intentional engagement with the beings that we are confronted with.

    1. Zettelkasten for studying art?

      Sometimes having examples of others' work can be helpful. In your case, perhaps perusing some zettelkasten work by previous users within the art/image space? In this respect some of the work by Aby Warburg may be interesting to you. I might suggest starting with his archive here: https://warburg.sas.ac.uk/archive/archive-collections/verknüpfungszwang-exhibition/mnemosyne-materials

    1. Then, once a model generates content, it will need to be evaluated and edited carefully by a human. Alternative prompt outputs may be combined into a single document. Image generation may require substantial manipulation.

      After generation, results need evaluation

      Is this also a role of the prompt engineer? In the digital photography example, the artist spent 80 hours and created 900 versions as the prompts were fine-tuned.

    1. Ryan Randall @ryanrandall@hcommons.socialEarnest but still solidifying #pkm take:The ever-rising popularity of personal knowledge management tools indexes the need for liberal arts approaches. Particularly, but not exclusively, in STEM education.When people widely reinvent the concept/practice of commonplace books without building on centuries of prior knowledge (currently institutionalized in fields like library & information studies, English, rhetoric & composition, or media & communication studies), that's not "innovation."Instead, we're seeing some unfortunate combination of lost knowledge, missed opportunities, and capitalism selectively forgetting in order to manufacture a market.

      https://hcommons.social/@ryanrandall/109677171177320098

    1. Bacon, Bennett, Azadeh Khatiri, James Palmer, Tony Freeth, Paul Pettitt, and Robert Kentridge. “An Upper Palaeolithic Proto-Writing System and Phenological Calendar.” Cambridge Archaeological Journal, January 5, 2023, 1–19. https://doi.org/10.1017/S0959774322000415.

      https://www.cambridge.org/core/journals/cambridge-archaeological-journal/article/an-upper-palaeolithic-protowriting-system-and-phenological-calendar/6F2AD8A705888F2226FE857840B4FE19

      There may be questions as to whether or not this represents written language, but, if true, this certainly represents one of the oldest examples of annotation in human history!

      cc: @remikalir

    2. We believe that we have demonstrated the use of abstract marks to convey meaning about the behaviour of the animals with which they are associated, on European Upper Palaeolithic material culture spanning the period from ~37,000 to ~13,000 bp. In our reading, the animals integral to our analytical modules do not depict a specific individual animal, but all animals of that species, at least as experienced by the images’ creators. This synthesis of image, mathematical syntax (the ordinal/linear sequences) and signs functioning as words formed an efficient means of recording and communicating information that has at its heart the core intellectual achievement of abstraction.
    3. We believe that the numeric notational marks associated with the animals constituted a calendar, and given that it references natural behaviour in terms of seasons relative to a fixed point in time, we may refer to it as a phenological calendar, with a meteorological basis.
    4. These may occur on rock walls, but were commonly engraved onto robust bones since at least the beginning of the European Upper Palaeolithic and African Late Stone Age, where it is obvious they served as artificial memory systems (AMS) or external memory systems (EMS) to coin the terms used in Palaeolithic archaeology and cognitive science respectively, exosomatic devices in which number sense is clearly evident (for definitions see d’Errico Reference d'Errico1989; Reference d'Errico1995a,Reference d'Erricob; d'Errico & Cacho Reference d'Errico and Cacho1994; d'Errico et al. Reference d'Errico, Doyon and Colage2017; Hayden Reference Hayden2021).

      Abstract marks have appeared on rock walls and engraved into robust bones as artificial memory systems (AMS) and external memory systems (EMS).

    5. We also demonstrate that the <Y> sign, one of the most frequently occurring signs in Palaeolithic non-figurative art, has the meaning <To Give Birth>. The position of the <Y> within a sequence of marks denotes month of parturition, an ordinal representation of number in contrast to the cardinal representation used in tallies.

      parturition<br /> the action of giving birth to young

      <Y> potentially one of the first written "words"

    6. Using a database of images spanning the European Upper Palaeolithic, we suggest how three of the most frequently occurring signs—the line <|>, the dot <•>, and the <Y>—functioned as units of communication.
  5. Dec 2022
    1. I'm a multi-media artist, so I have many ideas about fashion pieces, artworks, music, etc. that i'd want to make. Would I plug in these ideas as 'fleeting notes' until they're more cemented? would you recommend I keep separate my 'original' ideas and the ZK note-taking system?

      I gave some examples of uses in arts/media a while back that you might find interesting for your use case: https://www.reddit.com/r/antinet/comments/xdrb0k/comment/iofo5vv/?utm_source=reddit&utm_medium=web2x&context=3

      In particular, a more commonplace book approach or something along the lines of Chapter 6 of Twyla Tharpe's book may be more useful or productive for your use case.

    1. Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product.[1][2] Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms.
    1. “I have a trick that I used in my studio, because I have these twenty-eight-hundred-odd pieces of unreleased music, and I have them all stored in iTunes,” Eno said during his talk at Red Bull. “When I’m cleaning up the studio, which I do quite often—and it’s quite a big studio—I just have it playing on random shuffle. And so, suddenly, I hear something and often I can’t even remember doing it. Or I have a very vague memory of it, because a lot of these pieces, they’re just something I started at half past eight one evening and then finished at quarter past ten, gave some kind of funny name to that doesn’t describe anything, and then completely forgot about, and then, years later, on the random shuffle, this thing comes up, and I think, Wow, I didn’t hear it when I was doing it. And I think that often happens—we don’t actually hear what we’re doing. . . . I often find pieces and I think, This is genius. Which me did that? Who was the me that did that?”

      Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.

    2. Eno’s strategies don’t always appeal to the musicians he works with. In Geeta Dayal’s book about the album, also titled “Another Green World,” the bassist Percy Jones recalls, “There was this one time when he gave everybody a piece of paper, and he said write down 1 to 100 or something like that, and then he gave us notes to play against specific numbers.” Phil Collins, who played drums on the album, reacted to these instructions by throwing beer cans across the room. “I think we got up to about 24 and then we gave up and did something else,” Jones said.

      Example of Brian Eno using combinatorial creativity using cards to generate music.

      This sounds similar to a process used by Austin Kleon which I've noted before.

    3. “I thought that art schools should just be places where you thought about creative behavior, whereas they thought an art school was a place where you made painters,” he said later.

      We should do better at teaching and training creative behavior in schools. We say that we encourage exploration but somehow do it in all the wrong ways such we discourage it wholly.

    4. At Ipswich, he studied under the unorthodox artist and theorist Roy Ascott, who taught him the power of what Ascott called “process not product.”

      "process not product"


      Zettelkasten-based note taking methods, and particularly that followed by Luhmann, seem to focus on process and not product.

    5. Behind Eno stand John Cage, Marcel Duchamp, and Erik Satie, but those guys didn’t make pop records.
    1. https://www.dalekeiger.net/untitled/

      Dale Keiger is tap dancing his way into a definition for the underlying traits for encouraging and expanding on creativity. There's definitely something here worth pursuing further and giving a specific name to.

      Some it is very akin to the ideas behind combinatorial creativity of working (dancing in Kelly's case) on the mundane with precision and drive and perhaps at least a soupçon of obsessiveness, but openness to the new.

      How can we sharpen this set of ideas to settle on the right list of "ingredients"? Is there a way to hone in on this sort of creation of flow within a certain creative area while simultaneously not getting bored? Is it the small string of creative breakthroughs in the process of practice which open up new avenues and help create the flow to prevent boredom?

      How might relate to Anders Ericsson's work on on deliberate practice or plateau principle coming into play, particularly to prevent boredom to encourage one to continue on with their practice?

      I haven't put my finger on it but there were hints in it from a Yo-Yo Ma ad for Masterclass I saw the other day (https://www.youtube.com/watch?v=dbjgHkj-syM)..

  6. Nov 2022
    1. But Dr Essai has observed time and again how the finest artists are the ones whose idea of fun is spending hour after hour, day after day doing the same thing over and over and over and over. And then some more.

      This seems to fit in with Malcolm Gladwell's observation about Paul Simon see: https://hypothes.is/a/Kd7X4lvPEe250Gvn57Pbdg

    1. Donations

      To add some other intermediary services:

      To add a service for groups:

      To add a service that enables fans to support the creators directly and anonymously via microdonations or small donations by pre-charging their Coil account to spend on content streaming or tipping the creators' wallets via a layer containing JS script following the Interledger Protocol proposed to W3C:

      If you want to know more, head to Web Monetization or Community or Explainer

      Disclaimer: I am a recipient of a grant from the Interledger Foundation, so there would be a Conflict of Interest if I edited directly. Plus, sharing on Hypothesis allows other users to chime in.

    1. In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice.

      Brian Eno's experiments in generative music mirror some of the ideas of generative and experimental fiction which had been in the zeitgeist and developing for a while.

      Certainly the fictional ideas were influential to the zeitgeist here, but the technology for doing these sorts of things in the musical realm lagged the ability to do them in the word realm.

      We're just starting to see some of these sorts of experimental things in the film space and with artificial intelligence they're becoming much easier to do in all of these media spaces.

      In some of the film spaces, they exist, but may tend to be short in nature, in part given the technology and processing power required.

      see also: Deepfake TikTok of Keanu Reeves which I've recently run across (algorithmically) on Instagram: https://www.dailydot.com/debug/unreal-keanu-reeves-ai-deepfake/

      Had anyone been working on generative art? Marcel Duchamp, et al? Some children's toys can mechanically create generative art which can be subtly modified by the children using axes of color, form, etc. Etch-a-sketch, kaleidoscopes, doodling robots (eg: https://www.amazon.com/4M-Doodling-Robot-Packaging-Vary/dp/B002EWWW9O).

    1. And this is the art-the skill or craftthat we are talking about here.

      We don't talk about the art of reading or the art of note making often enough as a goal to which students might aspire. It's too often framed as a set of rules and an mechanical process rather than a road to producing interesting, inspiring, or insightful content that can change humanity.

    1. Blake, Vernon. Relation in Art: Being a Suggested Scheme of Art Criticism, with Which Is Incorporated a Sketch of a Hypothetic Philosophy of Relation. Oxford University Press, H. Milford, 1925. https://www.google.com/books/edition/Relation_in_Art/BcAgAAAAMAAJ?hl=en

      Suggested by

      "Relation in Art" by Vernon Blake (1925), because it put art criticism on a quasi-scientific footing, articulated what was great about the art of all epochs (including the Greeks), and intelligently criticised the decline of art in the 20th century.

      — Codex OS (@codexeditor) November 5, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
  7. Oct 2022
    1. The synthetic party, a Danish political party with an AI generated program from all Danish fringe party programs since the 70s. Aimed at the 20% non-voting Danes. 'Leder Lars' is leading the party, which is a chatbot residing on a Discord server where you can interact with it. An art project.

    1. Congratulations (I guess?) on finding my semi-secret Substack: a place away from my main site to discuss my journey from technologist (a pompous term that really just means I do computers) to writer (a pompous term that really just means I do computers but now it’s art).

      This quote is art... :)

    1. Les murs du cabinet de travail, le plancher, le plafond même portaient des liasses débordantes, des cartons démesurément gonflés, des boîtes où se pressait une multitude innombrable de fiches, et je contemplai avec une admiration mêlée de terreur les cataractes de l'érudition prêtes à se rompre. —Maître, fis-je d'une voix émue, j'ai recours à votre bonté et à votre savoir, tous deux inépuisables. Ne consentiriez-vous pas à me guider dans mes recherches ardues sur les origines de l'art pingouin? —Monsieur, me répondit le maître, je possède tout l'art, vous m'entendez, tout l'art sur fiches classées alphabétiquement et par ordre de matières. Je me fais un devoir de mettre à votre disposition ce qui s'y rapporte aux Pingouins. Montez à cette échelle et tirez cette boîte que vous voyez là-haut. Vous y trouverez tout ce dont vous avez besoin. J'obéis en tremblant. Mais à peine avais-je ouvert la fatale boîte que des fiches bleues s'en échappèrent et, glissant entre mes doigts, commencèrent à pleuvoir. Presque aussitôt, par sympathie, les boîtes voisines s'ouvrirent et il en coula des ruisseaux de fiches roses, vertes et blanches, et de proche en proche, de toutes les boîtes les fiches diversement colorées se répandirent en murmurant comme, en avril, les cascades sur le flanc des montagnes. En une minute elles couvrirent le plancher d'une couche épaisse de papier. Jaillissant de leurs inépuisables réservoirs avec un mugissement sans cesse grossi, elles précipitaient de seconde en seconde leur chute torrentielle. Baigné jusqu'aux genoux, Fulgence Tapir, d'un nez attentif, observait le cataclysme; il en reconnut la cause et pâlit d'épouvante. —Que d'art! s'écria-t-il. Je l'appelai, je me penchai pour l'aider à gravir l'échelle qui pliait sous l'averse. Il était trop tard. Maintenant, accablé, désespéré, lamentable, ayant perdu sa calotte de velours et ses lunettes d'or, il opposait en vain ses bras courts au flot qui lui montait jusqu'aux aisselles. Soudain une trombe effroyable de fiches s'éleva, l'enveloppant d'un tourbillon gigantesque. Je vis durant l'espace d'une seconde dans le gouffre le crâne poli du savant et ses petites mains grasses, puis l'abîme se referma, et le déluge se répandit sur le silence et l'immobilité. Menacé moi-même d'être englouti avec mon échelle, je m'enfuis à travers le plus haut carreau de la croisée.

      France, Anatole. L’Île Des Pingouins. Project Gutenberg 8524. 1908. Reprint, Project Gutenberg, 2005. https://www.gutenberg.org/cache/epub/8524/pg8524.html

      Death by Zettelkasten!!

      (Coming soon to a theater near you...)

      In the preface to the novel Penguin Island (L'Île des Pingouins. Calmann-Lévy, 1908) by Nobel prize laureate Anatole France, a scholar is drowned by an avalanche of index cards which formed a gigantic whirlpool streaming out of his card index (Zettelkasten).

      Link to: Historian Keith Thomas has indicated that he finds it hard to take using index cards for excerpting and research seriously as a result of reading this passage in the satire Penguin Island.<br /> https://hypothes.is/a/rKAvtlQCEe2jtzP3LmPlsA


      Translation via: France, Anatole. Penguin Island. Translated by Arthur William Evans. 8th ed. 1908. Reprint, New York, NY, USA: Dodd, Mead & Co., 1922. https://www.google.com/books/edition/Penguin_Island/6UpWAvkPQaEC?hl=en&gbpv=0

      Small changes in the translation by me, comprising only adding the word "index" in front of the occurrences of card to better represent the historical idea of fiches used by scholars in the late 1800s and early 1900s, are indicated in brackets.

      The walls of the study, the floor, and even the ceiling were loaded with overflowing bundles, paste board boxes swollen beyond measure, boxes in which were compressed an innumerable multitude of small [index] cards covered with writing. I beheld in admiration mingled with terror the cataracts of erudition that threatened to burst forth.

      “Master,” said I in feeling tones, “I throw myself upon your kindness and your knowledge, both of which are inexhaustible. Would you consent to guide me in my arduous researches into the origins of Penguin art?"

      “Sir," answered the Master, “I possess all art, you understand me, all art, on [index] cards classed alphabetically and in order of subjects. I consider it my duty to place at your disposal all that relates to the Penguins. Get on that ladder and take out that box you see above. You will find in it everything you require.”

      I tremblingly obeyed. But scarcely had I opened the fatal box than some blue [index] cards escaped from it, and slipping through my fingers, began to rain down.

      Almost immediately, acting in sympathy, the neighbouring boxes opened, and there flowed streams of pink, green, and white [index] cards, and by degrees, from all the boxes, differently coloured [index] cards were poured out murmuring like a waterfall on a mountain-side in April. In a minute they covered the floor with a thick layer of paper. Issuing from their in exhaustible reservoirs with a roar that continually grew in force, each second increased the vehemence of their torrential fall. Swamped up to the knees in cards, Fulgence Tapir observed the cataclysm with attentive nose. He recognised its cause and grew pale with fright.

      “ What a mass of art! ” he exclaimed.

      I called to him and leaned forward to help him mount the ladder which bent under the shower. It was too late. Overwhelmed, desperate, pitiable, his velvet smoking-cap and his gold-mounted spectacles having fallen from him, he vainly opposed his short arms to the flood which had now mounted to his arm-pits . Suddenly a terrible spurt of [index] cards arose and enveloped him in a gigantic whirlpool. During the space of a second I could see in the gulf the shining skull and little fat hands of the scholar; then it closed up and the deluge kept on pouring over what was silence and immobility. In dread lest I in my turn should be swallowed up ladder and all I made my escape through the topmost pane of the window.

    1. Built and assembled without anyparticular significance or any value, Walter de Maria's Boxes for MeaninglessWork could also be an echo of Duchamp's sound strategies. In aparallel project, Robert Morris realized Card File (1962-3), a series ofcards on which a series of hazy concepts are written and laid out alphabetically on a vertical support. Through this initial process, Morriscreated a description of the necessary stages required to achieve thework. The terms used in this file include such things as accidents,alphabets, cards, categories, conception, criticism, or decisions, dissatisfactions, durations, forms, future, interruptions, names, numbers,possibilities, prices, purchases, owners, and signature. As a result, thework had no content other than the circumstances of its execution.Through this piece, Morris also asserted that if one wished to understand and penetrate all subtleties of the work, one would have toconsider all the methods used in bringing it forth. The status of thework of art is immediately called into question, because the range ofcards can undergo a change:In a broad sense art has always been on object, static and final, eventhough structurally it may have been a depiction or existed as afragment. What is being attacked, however, is something more thanart as icon. Under attack is the rationalistic notion that art is a formof work that results in a finished product. Duchamp, of course,attacked the Marxist notion that labor was an index of value, butReadymades are traditionally iconic art objects. What art now has inits hand ismutable stuffwhich need not arrive at the point of beingfinalized with respect to either time or space. The notion thatworkis an irreversible process ending in a static icon-object no longer hasmuch relevance.25Marcel Duchamp's musical and "Dismountable approximation" illustrate this process perfectly. John Cage recalled that "for his final opus,Given: 1. The Waterfall, 2. The Illuminating Gas, exhibited in Philadelphia, [Duchamp] wrote a book [the "Dismountable approximation"]that provided a blueprint for dismantling the work and rebuilding it.26It also provided information on how to proceed, as well as the only definition of the musical notation, isn't that so? So it is a musical work ofart; because when you follow the instructions you produce sounds."27But Given: 1. The Waterfall, 2. The Illuminating Gas was never createdas a musical piece, even though it is entirely "possible to do it. . . .Andif one takes it like a musical piece, one gets the piece [that Duchamp]This content downloaded from 194.27.18.18 on Fri, 18 Dec 2015 12:35:27 UTCAll use subject to JSTOR Terms and Conditions

      card file as art!

    2. Sophie Stévance and Catrina Flint de Médicis. “Marcel Duchamp’s Musical Secret Boxed in the Tradition of the Real: A New Instrumental Paradigm.” Perspectives of New Music, vol. 45, no. 2, 2007, pp. 150–70. https://www.jstor.org/stable/25164661

  8. Sep 2022
    1. “I think it’s such a fascinating story,” Martin said. He also appreciated collecting in an area where there wasn’t a huge amount of established scholarship. “It’s fun to have something to study, to try to understand, to apply your critical eye to without any outside pressure,” he added. “There’s not a lot of promotion about [these] artists. You just have to find it out yourself.”

      Reading and studying it all without any regard to the Indigenous culture. Steve Martin is using Western perspectives to attempt to understand non-Western art which has a different basis.

    1. Ukrainian artist Lubov Panchenko became famous in the 1960s with her pictures full of folk motifs. She was persecuted by the Soviet authorities for her works that revived Ukrainian culture.

      one of my favorite artists!

    1. Posted byu/piloteris16 hours agoCreative output examples .t3_xdrb0k._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } I am curious about examples, if any, of how an anti net can be useful for creative or artistic output, as opposed to more strictly intellectual articles, writing, etc. Does anyone here use an antinet as input for the “creative well” ? I’d love examples of the types of cards, etc

      They may not necessarily specifically include Luhmann-esque linking, numbering, and indexing, but some broad interesting examples within the tradition include: Comedians: (see https://en.wikipedia.org/wiki/Zettelkasten for references/articles) - Phyllis Diller - Joan Rivers - Bob Hope - George Carlin

      Musicians: - Eminem https://boffosocko.com/2021/08/10/55794555/ - Taylor Swift: https://hypothes.is/a/SdYxONsREeyuDQOG4K8D_Q

      Dance: - Twyla Tharpe https://www.amazon.com/gp/product/B000SEOWBG/ (Chapter 6)

      Art/Visual - Aby Warburg's Mnemosyne Atlas: https://warburg.sas.ac.uk/archive/archive-collections/verkn%C3%BCpfungszwang-exhibition/mnemosyne-materials

      Creative writing (as opposed to academic): - Vladimir Nabokov https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html - Jean Paul - https://www.tandfonline.com/doi/abs/10.1080/00168890.2018.1479240 - https://journals.co.za/doi/abs/10.10520/EJC34721 (German) - Michael Ende https://www.amazon.com/Michael-Endes-Zettelkasten-Skizzen-Notizen/dp/352271380X

    1. This space that remained empty for decades now becomes a place; a distinction between space and place, where spaces gain authority not from space appreciated mathematically but place appreciated through human experience. The whole of the interior is painted in black a symbolic act of obliterating the signs of the past and then it is lit up with Black lights in a bold gesture of re- evoking urban memory. The interior building’s structure is re-traced by lines which eventually turns into Mais’ own words glowing in black light, re-animating his workshop and turning it into a beacon of light. This urban structure is torn out of the dust of oblivion for all to see, remember, read and be animated by; a subjective dialogue on social conditions between people and their changing society is created rising from the ground and lighting- up from within.

      I wonder if any of the zettelkasten fans might blow their slips up and decorate their walls with them? Zettelhaus anyone?

    1. Art

      Tracy and I would've been more interested in seeing more depictions of the negative aspects of religion which weren't addressed enough. A good example of this would've been possibly the Salem Witch Trials and the Last Judgement.

  9. Aug 2022
    1. At the time he was selling, Jay-Z was also coming up with rhymes. He normally wrote down his material in a green notebook he carried around with him — but he never took the notebook with him on the streets, he says. "I would run into the corner store, the bodega, and just grab a paper bag or buy juice — anything just to get a paper bag," he says. "And I'd write the words on the paper bag and stuff these ideas in my pocket until I got back. Then I would transfer them into the notebook. As I got further and further away from home and my notebook, I had to memorize these rhymes — longer and longer and longer. ... By the time I got to record my first album, I was 26, I didn't need pen or paper — my memory had been trained just to listen to a song, think of the words, and lay them to tape." Since his first album, he says, he's never written down any of his lyrics. "I've lost plenty of material," he says. "It's not the best way. I wouldn't advise it to anyone. I've lost a couple albums' worth of great material. ... Think about when you can't remember a word and it drives you crazy. So imagine forgetting an entire rhyme. 'What's that? I said I was the greatest something?' "

      In his youth, while selling drugs on the side, Jay-Z would write down material for lyrics into a green notebook. He never took the notebook around with him on the streets, but instead would buy anything at a corner store just for the paper bags as writing material. He would write the words onto these paper bags and stuff them into his pockets (wearable Zettelkasten anyone? or maybe Zetteltasche?) When he got home, in long standing waste book tradition, he would transfer the words to his notebook.

      Jay-Z has said he hasn't written down any lyrics since his first album, but warns, "I've lost plenty of material. It's not the best way. I wouldn't advise it to anyone. I've lost a couple albums' worth of great material."

      https://ondemand.npr.org/anon.npr-mp3/npr/fa/2010/11/20101116_fa_01.mp3

      Link to: https://hypothes.is/a/T3Z38uDUEeuFcPu2U_w_zA (Jonathan Edwards' zettelmantle)

    1. Phenomena can be so familiar that wereally do not see them at all, a matter that has been much discussed by literarytheorists and philosophers. For example, Viktor Shklovskij in the early 1920sdeveloped the idea that the function of poetic art is that of “making strange”the object depicted. “People living at the seashore grow so accustomed to themurmur of the waves that they never hear it. By the same token, we scarcelyever hear the words which we utter . . . We look at each other, but we do not seeeach other any more. Our perception of the world has withered away; what hasremained is mere recognition.”

      Fish in water effect

    1. queers in love at the end of the world is a hypertext game built on the Twine platform in which the player experiences fleeting intimacy in a ten-second narrative. In the upper left of the browser window, a timer counting down the seconds prompts the reader to move quickly, advancing the narrative by clicking highlighted action words with little time to deliberate or savor the moments chosen before "Everything is wiped away.
    1. dys4ia and a lot of the games loosely grouped with it were all made on Twine, a programming language for making hypertext games that was created in 2009 by Chris Klimas and intended for writers looking to experiment with literature. Skeptics argue that these creations are too simplistic and linear to be considered “games.”
    1. I just frowned at my cardboard boxes.I’m aiming to build something similar out of wood soon. But I also had an idea to build a bookshelf with drawers incorporated, a row of vertical draws on both sides of the shelf and/or one down the middle. Ideally creating book cubbies between the drawers where I could organize related books next to appropriate zettles. Not sure how attached to that idea I am though, seems like something I will like for the moment and find very novel in the future (pun certainly intended).

      reply to GnauticalGnorman

      Don't frown at cardboard. Everyone starts their journey with a single card and a humble box. Filling up a first box is an accomplishment that gives you time to dream about the box you want to have.

      Of potential interest, the cost of index cards to fill these files will be almost the investment in the box itself. Is this similar to the rule of thumb in the art world that the price of the frame should reflect the investment in the artwork?

    1. Systematische Anleitung zur Theorie und Praxis der Mnemonik : nebst den Grundlinien zur Geschichte u. Kritik dieser Wissenschaft : mit 3 Kupfertaf. by Johann Christoph Aretin( Book )18 editions published in 1810 in 3 languages and held by 52 WorldCat member libraries worldwide

      Google translation:<br /> Systematic instructions for the theory and practice of mnemonics: together with the basic lines for the history and criticism of this science: with 3 copper plates.

      First published in 1810 in German

      http://worldcat.org/identities/lccn-n83008343/

    1. ConradCeltes, a German poet of some renown,‘born in 1459, made the great discoverythat the alphabet could be substituted in

      Mnemonics for the places or pictures used by his predecessors. The historians of Mnemonics, especially Aretin, Reventlow, and the learned and famous bibliographer, Edward Marie Oettinger, in Leipzic, to whom I owe the above-mentioned and some of the following details on the history of Mnemonics, give a dozen other names of authors on Mnemonics belonging to this epoch.*

      Edward Pick mentions Conrad Celtes in passing for having "made the great discovery that the alphabet could be substituted in Mnemonics for the places and pictures used by his predecessors. He doesn't provide a textual source for the information.

      Pick indicates that his primary sources were Edward Marie Oettinger, (Johann Christoph Freiherr von) Aretin, and (Carl Otto) Reventlow who may have more detail on Celte's potential influence on the major system as well as potential alternate names from that era.

      see also: - https://en.wikipedia.org/wiki/Eduard_Maria_Oettinger<br /> - History of Mnemonics by J. Ch, Baron von Aretin

  10. Jul 2022
    1. Writing is a craft for most of us, not an art.

      Or framed differently:

      The art in writing is knowing that it is really a craft.

    1. Vinzenz Brinkmann, Head of the Department of Antiquity at the Liebieghaus Sculpture Collection in Frankfurt am Main, said when he first started researching polychromy 40 years ago, "no one had interest in this for years, no one collected the clearly visible evidence. Except for me. I collected the evidence like a stamp collection."

      Ancient statuary wasn't white as we often see now in museums, but was brightly colored. Statuary that was outside would have been sun bleached over time as well as subject to other weathering to mute or entirely remove color.

      https://www.npr.org/2022/07/12/1109995973/we-know-greek-statues-werent-white-now-you-can-see-them-in-color

    1. Le white cube a tendance à réverbérer le son et j’ai annulé ma participation à pas mal d’expos trop fournies en pièces sonores, au point qu’elles se parasitaient. Il faut aussi se battre pour que la pièce ne soit pas présentée pendant un vernissage.

      Le probleme du son dans les white cubes

    2. Violaine Lochu qui tient à faire entendre, dans ses performances parlées ou ses installations, «les voix minoritaires, qui n’ont pas ou peu ou mal, accès à l’écriture» et demeurent à peine audibles. Il y a un an, à Vallauris, au musée Picasso, elle faisait ainsi entendre ce que la population locale, des femmes en situation précaire aux anciens combattants de la guerre d’Algérie, avait sur le cœur.

      Rendre visibles les invisibles

    3. Moi, je suis du côté du contemporain.

      L'oralite dans l'oeuvre d'Anne Le Troter et son rapport aux premieres luttes de la poesie sonore.

    1. During the seventeenth century, this associative view vanished and was replaced by more literallydescriptive views simply of the thing as it exists in itself.

      The associative emblematic worldview prevalent prior to the seventeenth century began to disappear within Western culture as the rise of the early modern period and the beginning of the scientific revolution began to focus on more descriptive modes of thought and representation.


      Have any researchers done specific work on this shift from emblematic to the descriptive? What examples do they show which support this shift? Any particular heavy influences?

      This section cites:<br /> William B. Ashworth, Jr. “Natural History and the Emblematic World View,” in Reappraisals of the Scientific Revolution, David C. Lindberg and Robert S. Westfall, eds #books/wanttoread<br /> which could be a place to start.


      Note that this same shift from associative and emblematic to descriptive and pedantic coincides not only with the rise of the scientific revolution but also with the effects of rising information overload in a post-Gutenberg world as well as the education reforms of Ramus (late 1500s) et al. as well as the beginning of the move away from scholasticism.


      Is there any evidence to support claims that this worldview stemmed from pagan traditions and cultures and not solely the art of memory traditions from ancient Greece? Could it have been pagan traditions which held onto these and they were supplemented and reinforced by ecclesiastical forces which used the Greek traditions?


      Examples of emblematic worldview: - particular colors of flowers meant specific things (red = love, yellow = friendship, etc.) We still have these or remants - Saints had their associative animals and objects - anniversary gifts had associative meanings (paper, silver, gold, etc.) We still have remnants of these things, though most are associated with wealth (gold, silver, platinum anniversaries). When did this tradition actually start? - what were the associative meanings of rabbits, turtles, and other animals which appear frequently in manuscript marginalia? (We have the example of the bee (Latin: apes) which where frequently used this way as being associated with the idea of imitation.) - other broad categories?

    1. Unfortunately, many corporate software programsaim to level or standardise the differences betweenindividual workers. In supporting knowledgeworkers, we should be careful to provide tools whichenable diversification of individuals’ outputs.Word-processors satisfi this criterion; tools whichembed a model of a knowledge worker’s task in thesoftware do not.

      Tools which allow for flexibility and creativity are better for knowledge workers than those which attempt to crystalize their tasks into ruts. This may tend to force the outputs in a programmatic way and thereby dramatically decrease the potential for innovative outputs. If the tools force the automation of thought without a concurrent increase in creativity then one may as well rely on manual labor for their thinking.


      This may be one of the major flaws of tools for thought in the educational technology space. They often attempt to facilitate the delivery of education in an automated way which dramatically decreases the creativity of the students and the value of the overall outputs. While attempting to automate education may suit the needs of institutions which are delivering the education, particularly with respect to the overall cost of delivery, the automation itself is dramatically at odds with the desire to expand upon ideas and continue innovation for all participants involved. Students also require diverse modes of input (seen/heard) as well as internal processing followed by subsequent outputs (written/drawn/sculpted/painted, spoken/sung, movement/dance). Many teachers don't excel at providing all of these neurodiverse modes and most educational technology tools are even less flexible, thus requiring an even larger panoply of them (often not interoperable because of corporate siloing for competitive reasons) to provide reasonable replacements. Given their ultimate costs, providing a variety of these tools may only serve to increase the overall costs of delivering education or risk diminishing the overall quality. Educators and institutions not watching out for these traps will tend to serve only a small portion of their intended audiences, and even those may be served poorly as they only receive a limited variety of modalities of inputs and outputs. As an example Western cultures' overreliance on primary literacy modes is their Achilles' heel.


      Tools for thought should actively attempt to increase the potential solution spaces available to their users, while later still allowing for focusing of attention. How can we better allow for the divergence of ideas and later convergence? Better, how might we allow for regular and repeated cycles of divergence and convergence? Advanced zettelkasten note taking techniques (which also allow for drawing, visual, auditory and other modalities beyond just basic literacy) seem to allow for this sort of practice over long periods of time, particularly when coupled with outputs which are then published for public consumption and divergence/convergence cycles by others.

      This may also point out some of the stagnation allowed by social media whose primary modes is neither convergence nor divergence. While they allow for the transmission/communication portion, they primarily don't actively encourage their users to closely evaluate the transmitted ideas, internalize them, or ultimately expand upon them. Their primary mode is for maximizing on time of attention (including base emotions including excitement and fear) and the lowest levels of interaction and engagement (likes, retweets, short gut reaction commentary).

  11. Jun 2022
    1. As powerful and necessary as divergence is, if all we ever do isdiverge, then we never arrive anywhere.

      Tiago Forte frames the creative process in the framing of divergence (brainstorming) and convergence (connecting ideas, editing, refining) which emerged out of the Stanford Design School and popularized by IDEO in the 1980s and 1990s.

      But this is just what the more refined practices of maintaining a zettelkasten entail. It's the creation of profligate divergence forced by promiscuously following one's interests and collecting ideas along the way interspersed with active and pointed connection of ideas slowly creating convergence of these ideas over time. The ultimate act of creation finally becomes simple as pulling one's favorite idea of many out of the box (along with all the things connected to it) and editing out any unnecessary pieces and then smoothing the whole into something cohesive.

      This is far less taxing than sculpting marble where one needs to start with an idea of where one is going and then needs the actual skill to get there. Doing this well requires thousands of hours of practice at the skill, working with smaller models, and eventually (hopefully) arriving at art. It's much easier if one has the broad shapes of the entirety of Rodin, Michelangelo, and Donatello's works in their repository and they can simply pull out one that feels interesting and polish it up a bit. Some of the time necessary for work and practice are still there, but the ultimate results are closer to guaranteed art in one domain than the other.


      Commonplacing or slipboxing allows us to take the ability to imitate, which humans are exceptionally good at (Annie Murphy Paul, link tk), and combine those imitations in a way to actively explore and then create new innovative ideas.

      Commonplacing can be thought of as lifelong and consistent practice of brainstorming where one captures all the ideas for later use.


      Link to - practice makes perfect

    2. This standardized routine is known as the creative process, and itoperates according to timeless principles that can be foundthroughout history.

      If the creative process has timeless principles found throughout history, why aren't they written down and practiced religiously withing our culture that is so enamored of creativity and innovation?

      As an example of how this isn't true, we've managed to lose our commonplace tradition and haven't really replaced it with anything useful. Even the evolved practice of the zettelkasten has been created and generally discarded (pun intended) without replacement.

      How much of our creative process is reliant on simple imitation, which is a basic human trait? It's typically more often that imitation juxtaposed with other experiences which is the crucible of innovation. How often, if ever, is true innovation in an entirely different domain created? By this I mean innovation outside of the adjacent possible domains from which it stems? Are there any examples of this?

      Even my own note taking practice is a mélange of broad imitation of what I read combined with the combinatorial juxtaposition of other ideas in an attempt to create new ideas.

    3. Wayne LacsonForte: On My Way To Me
    4. Tharp calls her approach “the box.”

      In The Creative Habit, dancer and choreographer Twyla Tharp has creative inspiration and note taking practice which she calls "the box" in which she organizes “notebooks, news clippings, CDs, videotapes of me working alone in my studio, videos of the dancers rehearsing, books and photographs and pieces of art that may have inspired me”. She also calls her linking of ideas within her box method "the art of scratching" (chapter 6).

      related: combinatorial creativity triangle thinking


      [[Twyla Tharp]] [[The Creative Habit]] #books/wanttoread

    5. Dance might seem like the creative medium that could leastbenefit from “organizing.”

      I really appreciate that he's actively using examples from across a variety of domains to indicate the depth and breadth of areas which can benefit from commonplacing and note taking domains.

    1. Groups in arts education rail against the loss of music, dance, and art in schools and indicate that it's important to a balanced education.

      Why has no one embedded these learning tools, for yes they can be just that, into other spaces within classrooms? Indigenous educators over the millennia have done just this in passing on their societal and cultural knowledge. Why have we lost these teaching methods? Why don't we reintroduce them? How can classrooms and the tools within them become mnemonic media to assist both teachers and learners?

      Perhaps we need to bring back examples of how to do these things at the higher levels? I've seen excercises in my daughter's grade school classrooms that bring art and manipulatives into the classroom as a base level, but are they being done specifically for these mnemonic reasons?

      Michael Nielsen and Andy Matuschak have been working at creating a mnemonic medium for areas like quantum mechanics relying in part on spaced repetition. Why don't they go further and add in dance, movement, art, and music to aid in the process. This can be particularly useful for creating better neurodiverse outcomes as well. Education should be more multi-modal, more oral, and cease it's unending reliance on only literacy as it's sole tool.

      How and where can we create a set of example exercises at various grade levels (similar to rites of knowledge initiation in Indigenous cultures, for lack of specific Western language) that embed all of these methods

      Link to: - Ideas in The Extended Brain about movement, space, etc. - Nielsen/Matuschak mnemonic media work

    1. Sometimes the goal is nothing more than a personal mantra such as “keep itsimple” or “something perfect” or “economy” to remind me of what I was thinkingat the beginning if and when I lose my way. I write it down on a slip of paper and it’sthe first thing that goes into the box.
    2. The second was “makedance pay for the dancers.” I’ve always been resentful of the fact that some of theso-called elite art forms can’t survive on their own without sponsorship andsubsidies. It bothers me that dance companies around the world are not-for-profitorganizations and that dancers, who are as devoted and disciplined as any NFL orNBA superstar, are at the low end of the entertainment industry’s income scale. Iwanted this Broadway-bound project not only to elevate serious dance in thecommercial arena but also to pay the dancers well. So I wrote my goals for theproject, “tell a story” and “make dance pay,” on two blue index cards and watchedthem float to the bottom of the Joel box.

      Given the importance of dance in oral cultures, what, why, and how has dance moved to be one of the seemingly lowest and least well paid art forms in modern society?

      How might modern dance regain its teaching and mnemonic status in our culture?

    3. Maurice Sendak has a room that’s theequivalent of my boxes, a working studio that contains a huge unit with flat pulloutdrawers in which he keeps sketches, reference materials, notes, articles. He works onseveral projects at a time, and he likes to keep the overlapping materials out of sightwhen he’s tackling any one of them.

      In her experience with Maurice Sendak, Twyla Tharp indicates that he has a room that works as the equivalent of her project boxes. His version is a working studio that contains a huge unit with flat pullout drawers where he keeps sketches, reference materials, notes, and articles. His system allows him to keep all the ideas ready at hand, but also easily out of the way so he can focus on a particular idea and project at a time.

    1. Barzun has observed that “the vulgarity of mankind,” in the sense of the common man’s intense awareness of life—life with all its brief pleasures and bruising shocks—“is not only a source of art but the ultimate one.”
  12. May 2022
    1. The pixel portrait of Niklas Luhmann was created by Sebastian Zimmer (CCeH) using the software AndreaMosaic from the image of 1271 slips of paper from the 'Zettelkasten'.

      © Alexander Kluge/ Universität Bielefeld*

    1. hina’s most famous painting is “Along the River during the Qingming Festival.” Often referred to as “China’s Mona Lisa” (more for its fame and mysterious history than for any likeness to da Vinci’s portrait), the painting dates from the early 1100s and stretches over 17 feet.
      • .> famous italy and french paintings are individual and religious oriented. But this painting is community (livelihood) oriented. I think they always accept the living of co-existence and mutual interests (united we stand; divided we fall)
    1. In §§ 4–5, I examine the socio-evolutionary circumstances under which a closed combinatory, such as the one triggered by the Llullian art, was replaced by an open-ended combinatory, such as the one triggered by a card index based on removable entries. In early modernity, improvement in abstraction compelled scholars to abandon the idea that the order of knowledge should mirror the order of nature. This development also implied giving up the use of space as a type of externalization and as the main rule for checking consis-tency.

      F*ck! I've been scooped!

      Apparently I'm not the only one who has noticed this, though I notice that he doesn't cite Frances A. Yates, which would have certainly been the place for having come up with this historical background (at least that's where I found it.)


      The Llullian arts can be more easily practiced with ideas placed on moveable index cards than they might be with ideas stored in one's own memory. Thus the index card as a tool significantly decreases the overhead and provides an easier user interface for permuting one's ideas and combining them. This decrease in mental work appearing at a time of information overload also puts specific pressure on the older use of the art of memory to put it out of fashion.

    1. "Art is in fact but a later and more sublimated form of ritual" (p. 225) and, as I shall demonstrate, the Foretelling ceremony in LHD presents not only a re-enactment of primitive ritual, but also a description of the process of creation experienced by a contemporary mythic artist.

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    1. Your mind is for having ideas, not holding them.—David Allen, author of Getting Things Done

      David Allen has apparently not acquainted himself with any of the arts of memory.

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      ... notekeeping was an art, a performance, that took place on, around, and across paper. —Matthew Daniel Eddy


      I'm also reminded of this in the framing of lack of performance as students I didn't know regularly asked me in college why I didn't take notes.

      Only years on now do I realize it was because they and I had been taking the wrong types of notes.


      Odd that this .pdf is garbling the highlighted text...

    1. Not: Blog görselinde yer alan, Pablo Picasso tarafından 1937’de yapılan Guernica isimli tablo, İspanya İç Savaşı sırasında Nazi Almanyası’na ait 28 bombardıman uçağının 26 Nisan 1937’de İspanya’daki Guernica şehrini bombalamasını anlatır.

  13. Apr 2022
    1. hey can be aesthetic, perhaps. In which case, that corroborates my theory. You’re not accumulating knowledge and insight—you’re drawing pretty pictures.

      I think there's definitely an aesthetic enjoyment factor, but that doesn't mean it's bad -- if anything it might be the opposite?

      You could imagine describing a knowledge graph as 'pleasant' -- or even 'beautiful'. You can see them as "pretty pictures" -- or you can see them as (generative?) art.

    1. https://www.themarginalian.org/2011/06/20/inside-notebooks/

      There are a number of books which feature the sketchbooks and notebooks of famous writers, researchers and artists. However, most of their work is presented as art in and of itself. Rarely are the messiest and ugliest pages pictured. Most of the layouts in these books are laid out as art. Frequently missing are the structural parts and interviews with the original authors talking about their process. How do they actually use these notebooks in practice? How do ideas move from their heads into the notebooks and from there into their practical work? The notebooks only capture raw ideas as a scaffolding for extending the user's brain and thinking, but it doesn't capture the intangible ideas and portions of process which are still trapped within their brains. To be able to evaluate these portions, the author needs to talk or write about those missing portions of the process otherwise the way they create genius is wholly missing. A viewer of such notebooks would be no closer to creating genius for themselves by attempting to follow the same patterns without these additional structures. It's like the indigenous peoples who talk with rocks as part of their cultural practice—so much of what is happening is missing from the description of "talking with rocks" that most people wouldn't even know where to begin, but for the initiated, the process would be imminently crystal clear.

      Which of these books actually delves into the process and does interviews as well?

      This article actually lays out the notebooks as their own form of art rather than centering the idea of creative process as a means of helping others to follow these same patterns. We need the book that does for the art and design area what Sönke Ahrens' book How to Take Smart Notes does for the note taking space. It's interesting to see Niklas Luhmann's collection of 90,000 index cards, but without knowing how he used them and what purpose they served, the enterprise is lost. Similarly the depiction of Roland Barthes' index cards in Roland Barthes has a similar function. Showing them is not equivalent to actually understanding them.

      link to: https://hypothes.is/a/3SOmoMcMEey8n9dSUWhPJw

    1. It is notinsignificant either that among the illustrations of the Roland Barthes par RolandBarthes there are a series of facsimile reproductions of the author’s handwriting,analogic reproductions of linguistic graphemes, pieces of writing silenced,abstracted from the universe of discourse by their photographic reproduction. Inparticular, as we have seen, the three index cards are reproduced not for the sakeof their content, not for their signified, but for a reality-effect value for which ourexpanding taste, says Barthes, encompasses the fashion of diaries, of testimonials,of historical documents, and, most of all, the massive development of photogra-

      phy. In that sense, the reproduction of these three slips ironically resonates, if on a different scale, with the world tour of the mask of Tutankhamen. It refers, if not to the magic silence of a relic, at least to the ghostly parergonal quality of what French language calls a reliquat.

      Hollier argues that Barthes' reproduced cards are not only completely divorced from their original context and use, but that they are reproduced for the sheen of reality and artistic fashion they convey to the reader. So much thought, value, and culture is lost in the worship of these items in this setting compared to their original context.

      This is closely linked to the same sort of context collapse highlighted by the photo of Chief William Berens seated beside the living stones of his elders in Tim Ingold's Why Anthropology Matters. There we only appreciate the sense of antiquity, curiosity, and exoticness of an elder of a culture that is not ours. These rocks, by very direct analogy, are the index cards of the zettelkasten of an oral culture.

      Black and white photo of a man in Western dress (pants, white shirt, and vest) sits on a rock with a forrest in the background. Beside him are several large round, but generally otherwise unremarkable rocks. Chief William Berens seated beside the living stones of his elders; a picture taken by A. Irving Hallowell in 1930, between Grand Rapids and Pikangikum, Ontario, Canada. (American Philosophical Society)

    2. It will, here again, find amplematerial in the short circuits of Duchamp’s antiart objects: “Metaphor ‘taken atthe letter’: a geometry book suspended by a thread (‘geometry in space’),” not tomention “the ‘Paris air’ ampule.” 10
    1. art by @launshae

      I really love this watercolor artwork to represent the idea of a digital garden.

    1. <small><cite class='h-cite via'> <span class='p-author h-card'>Winnie Lim</span> in peeking into people’s routines (<time class='dt-published'>04/24/2022 02:40:01</time>)</cite></small>

    1. digitalizationprocess is also reflected as an importantcomponent in the innovation development

      digitalization as innovation in business/political strategies

    1. In 1934, Marcel Duchamp announced the publication of his Green Box (edition of 320 copies) in a subscription bulletin — an enormous undertaking since each box contains 94 individual items mostly supposed “facsimiles” (Duchamp’s word) of notes first written between 1911 and 1915, each printed and torn upon templates to match the borders of the scribbled originals for a total of 30,080 scraps and pages.

      Marcel Duchamp announced his project the Green Box in 1934 as an edition of 320 copies of a box of 94 items. Most of the items were supposed "facsimiles" as described by Duchamp, of notes he wrote from 1911 to 1915.

      How is or isn't this like a zettelkasten or card index, admittedly a small collection?

    1. https://en.wikipedia.org/wiki/Open_text

      Within the field of semiotic analysis, an open text is one that can be interpreted by readers in a variety of ways. By way of contrast, a closed text prompts the reader to only one interpretation.

      Given the definition of an open text (opera aperta), in practice, the Bible may be one of the most open texts ever written despite its more likely original intention of it being a strictly closed text.

      What does a spectrum of open to closed look like? Can it be applied to other physical forms that could potentially be open to interpretation? Consider art, for example, which by general nature is far more open to interpretation (an open "text") and rarely are there artworks which are completely closed to a single interpretation.

      How does time and changing audiences/publics affect a work? The Bible may have been meant as a closed text in its original historical context, but time and politics have shown it to be one of the most spectacularly open texts ever written.

    2. Every work of art can be read, according to Eco, in three distinct ways: the moral, the allegorical and the anagogical.

      Umberto Eco indicates that every work of art can be read in one of three ways: - moral, - allegorical - anagogical

      Compare this to early Christianities which had various different readings of the scriptures.

      Relate this also to the idea of Heraclitus and the not stepping into the same river twice as a viewer can view a work multiple times in different physical and personal contexts which will change their mood and interpretation of the work.

    1. https://en.wikipedia.org/wiki/L.H.O.O.Q.

      L.H.O.O.Q. is a Marcel Duchamp readymade artwork conceived in 1919. The work consists of a cheap postcard reproduction of Da Vinci's Mona Lisa (the found object or objet trouvé), "improved" by Duchamp with the addition of a penciled in moustache and a goatee with the title drawn in large capital letters underneath.

      L.H.O.O.Q. is a pun whose letters pronounced one at a time in French sound like "Elle a chaud au cul". This translates variously as "She is hot in the arse" or "She has a hot ass". "Avoir chaud au cul" is a vulgar expression implying that a woman has sexual restlessness. Duchamp, in an interview, gave a loose translation of L.H.O.O.Q. as "there is fire down below". (Schwarz 203)


      Was the the original artistic source for the long string of childhood pranks in which children were often seen marking up and defacing pictures in books and magazines? Were there others prior?

    1. QuotingFriedrich Kittler, Thorn explains that the aim of such an all-encompassing approach to media is to focus on the ‘networks oftechnologies and institutions that allow a given culture to select,store, and process relevant data’ (cited in Thorn, 2008: 7).

      Has media studies looked at primary orality and the ideas of space repetition, art, dance, and mnemonics as base layers of media by which cultures created networks of knowledge and culture that they might use to select, store, process, copy, and pass along their knowledge?

    1. One of his last works, the Aurifodina, “The Mine of All Arts and Sci-ences, or the Habit of Excerpting,” was printed in 1638 (in 2,000 copies) andin another fourteen editions down to 1695 and spawned abridgments in Latin(1658), German (1684), and English.

      Simply the word abridgement here leads me to wonder:

      Was the continual abridgement of texts and excerpting small pieces for later use the partial cause of the loss of the arts of memory? Ars excerpendi ad infinitum? It's possible that this, with the growth of note taking practices, continual information overload, and other pressures for educational reform swamped the prior practices.

      For evidence, take a look at William Engel's work following the arts of memory in England and Europe to see if we can track the slow demise by attrition of the descriptions and practices. What would such a study show? How might we assign values to the various pressures at play? Which was the most responsible?

      Could it have also been the slow, inexorable death of many of these classical means of taking notes as well? How did we loose the practices of excerpting for creating new ideas? Where did the commonplace books go? Where did the zettelkasten disappear to?

      One author, with a carefully honed practice and the extant context of their life writes some brief notes which get passed along to their students or which are put into a new book that misses a lot of their existing context with respect to the new readers. These readers then don't know about the attrition happening and slowly, but surely the knowledge goes missing amidst a wash of information overload. Over time the ideas and practices slowly erode and are replaced with newer techniques which may not have been well tested or stood the test of time. One day the world wakes up and the common practices are no longer of use.

      This is potentially all the more likely because of the extremely basic ideas underpinning some of memory and note taking. They seem like such basic knowledge we're also prone to take them for granted and not teach them as thoroughly as we ought.

      How does one juxtapose this with the idea of humanist scholars excerpting, copying, and using classical texts with a specific eye toward preventing the loss of these very classical texts?

      Is this potentially the idea of having one's eye on a particular target and losing sight of other creeping effects?

      It's also difficult to remember what it was like when we ourselves didn't know something and once that is lost, it can be harder and harder to teach newcomers.

    2. During the same period zibaldone designated notebooks kept bywriters, artists, and merchants to record a wide variety of information: outgoingletters, copies of documents, indexes to books, lists of paintings, and excerptscopied from all kinds of texts, including poetry, prose, merchants’ manuals, legalsources, and tables of weights and measures.27
    3. Wax tablets were the standard erasable surfacefrom antiquity to the Renaissance: one or more boards, often bound togetherin a codex form, were coated in wax to be inscribed with a stylus then erased forreuse.7 In early modern England one could also purchase pocket-sized writingtablets featuring paper that had been treated so as to offer a rigid writing surfaceon which markings made with the accompanying metal stylus could be erasedwith a little moisture.8 The slate blackboard is also attested in Europe in musicinstruction in the sixteenth century, sized either for group or for personal use(as is still the case today), and was used at least by the eighteenth century in theteaching of astronomy. The sand tray, a board or slab spread with a fine layer ofsand that one inscribed with a stick and could easily erase, was another long-lived medium: used in ancient Babylon and medieval Islam for calculations andin Europe principally for children and artists learning to write or sketch down tothe Victorian period.9 None of these temporary notes have left any traces, exceptthrough extant higher- order notes made from them.
  14. www.rosietheredrobot.com www.rosietheredrobot.com
    1. Because it's about proving that, with enough curiosity and determination, anyone can get acquainted with technology and enrich themselves with a deeper understanding of the world

      Goal of website: With curiosity and determination, anyone can get acquainted with technology and a deeper understanding of the world.

  15. Mar 2022
    1. https://www.youtube.com/watch?v=kkjf0hCKOCE

      The sky is a textbook. The sky is a lawbook. The sky is a science book. —Duane Hamacher, (1:24)

      Hamacher uses the Western description "method of loci" rather than an Indigenous word or translated word.


      The words "myth", "legend", "magic", "ritual", and "religion" in both colloquial English and even anthropology are highly loaded terms.

      Words like "narrative" and "story" are better used instead for describing portions of the Indigenous cultures which we have long ignored and written off for their seeming simplicity.

    1. For Aboriginal Australians,its importance is recognised by its position at the centre of thenational Aboriginal flag, developed in 1971 by Luritja artist HaroldThomas.

      The Aboriginal flag was developed in 1971 by Luritja artist Harold Thomas. Centering its importance to Aboriginal Australians, the sun appears in the middle of the flag.


      It's subtle here, as in other instances, but notice that Hamacher gives the citation to the Indigenous artist that developed the flag and simultaneously underlines the source of visual information that is associated with the flag and the sun. It's not just the knowledge of the two things which are associated to each other, but they're also both associated with a person who is that source of knowledge.

      Is this three-way association common in all Indigenous cultures? While names may be tricky for some, the visual image of a particular person's face, body, and presence is usually very memorable and thereby easy to attach to various forms of knowledge.

      Does the person/source of knowledge form or act like an 'oral folder' for Indigenous knowledge?

    1. Audio Description (AD) is usually defined as a way to make TV, films, theater, and other art and media content accessible to blind and low vision audiences. In this standardized approach, AD is often reduced to an add-on that gets created only after artworks are finished. AD and the artwork, in other words, remain distinct. Hosted by the AIM Lab, artistic mentors to the exhibition, Cheryl Green and Thomas Reid, led a 3-part online workshop (September 2021) that challenged this separation. Instead of keeping AD apart from the artwork, they asked: why not consider AD as an art form in and of itself? Beginning from a place that centres the experiences of those who are Blind and recognizes the art in audio description, the workshop invited participants to reflect critically both on visual information and to view it as more than mere access. It encouraged creativity not only through describing an image or object but recognizing how description can generate new art. Participants began with a catalyst piece of art of media piece – audio described it, and then generated a whole new work using the audio description as the foundation. Instead of producing neutral or objective descriptions, participants were invited to experiment with approaches that highlighted the physical body, its situatedness, rich sensory experiences, and storytelling. The resulting series of works engage with AD in innovative and creative ways, exploring sound, text, movement, and their mixtures to build entire worlds. From an audio-logo to a binder that comes to life to sci-fi mediation to a lusty afternoon brewing mead to a video game adventure to artistic critiques of colonial pasts to glittering light that turn windowpanes into jellyfish, the collection of pieces in this online exhibit engages with the creative potentials of access.
    1. https://kiriska.com/blog/2022/your-website-is-useless/

      Some general discussion about the value of having a portfolio on your own website in a social media driven world. Touches on the ease of use and user interface problems that are out there.

  16. Feb 2022
    1. In our current global networked culture that puts so much emphasis on the virtual and the visual, the mind and the body have become detached and ultimately disconnected. Though physical appearance is idolised for its sexual appeal and its social identity, the role of the body in developing a full understanding of the physical world and the human condition has become neglected. The potential of the human body as a knowing entity – with all our senses as well as our entire bodily functions being structured to produce and maintain silent knowledge together – fails to be recognised. It is only through the unity of mind and body that craftsmanship and artistic work can be fully realised. Even those endeavours that are generally regarded as solely intellectual, such as writing and thinking, depend on this union of mental and manual skills.

      The Thinking Hand: Existential and Embodied Wisdom in Architecture by Juhani Pallasmaa

      https://www.amazon.com/Thinking-Hand-Existential-Embodied-Architecture/dp/0470779292/

      This sounds a bit like some of the physical and external memory ideas in The Extended Mind by Annie Murphy Paul.

      This book came up in Dan Allosso's book club on How to Take Smart Notes.

    1. When I did, I tried to see beyond the museum’s opulence to appreciate the nearly invisible hands of the Black laborers who made the Carroll family’s comfort and prosperity possible.

      It would be interesting to commission a sculpture of several human forms, perhaps fashioned in clear acrylic, glass, or some other translucent material, to represent the invisible nature of these slaves in an effort to make them visible in the present and while still making a dramatic and more visible statement about their (and millions of others') invisible nature with respect to the historical record.

  17. Jan 2022
    1. A portrait medal of Pietrobono had been struck in 1

      In the same year as Leonello? Was it also done by Pisanello? I should investigate.

    Tags

    Annotators

    1. Jan., 1911

      It's worth noting that this was written in 1911. Technology since then might have proven it to not be Leonello. I should look into it.

    Tags

    Annotators

  18. canvas.ucsc.edu canvas.ucsc.edu
    1. The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin

      1. Benjamin is part of the Frankfurt School at Institute of Social Studies in Germany.
      2. They are trying to examine the failure of Marxist revolutionary social change.
      3. The idea is that ideology disseminated through mass media are making it very difficult for Marx's prognotication are making it very difficult for social change to occur.
      4. 19th century modernity: mass transportation, factory work, dissemination of capitalism, movement to cities and experience of urban life

       These convergent endeavors made predictable a situation which Paul Valéry pointed up in this sentence: “Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign.” (op. cit., p. 226) Around 1900 technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes. For the study of this standard nothing is more revealing than the nature of the repercussions that these two different manifestations—the reproduction of works of art and the art of the film—have had on art in its traditional form.

      Q: Why does it matter that film minimizes the aura?

      At the time, art reacted with the doctrine of l’art pour l’art, that is, with a theology of art. This gave rise to what might be called a negative theology in the form of the idea of ‘pure’ art, which not only denied any social function of art but also any categorizing by subject matter. (In poetry, Mallarmé was the first to take this position.) An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility.7 From a photographic negative, for example, one can make any number of prints; to ask for the ‘authentic’ print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice—politics.<br> Ritual: pre-modern timesPolitics: Despite the political painting the art piece will be associated with the aura of original piece of art.

      • Film is not auratic because in film: 1) spaces and times are constructed 2) actors performance is stitched together 3) actors do not share space with spectators 4) multiple points of view 5) appeals to a MASS AUDIENCE and a COLLECTIVE AUDIENCE 6) reveals new aspects of the thing reproduced (time alpse, slow motion).

      How do institutions put the aura back into film?

      In photography, exhibition value begins to displace cult value all along the line. But cult value does not give way without resistance. It retires into an ultimate retrenchment: the human countenance.

      The superstar is a way to put the aura back into film

      The film responds to the shriveling of the aura with an artificial build-up of the “personality” outside the studio. The cult of the movie star, fostered by the money of the film industry, preserves not the unique aura of the person but the “spell of the personality,” the phony spell of a commodity. So long as the movie-makers’ capital sets the fashion, as a rule no other revolutionary merit can be accredited to today’s film than the promotion of a revolutionary criticism of traditional concepts of art. We do not deny that in some cases today’s films can also promote revolutionary criticism of social conditions, even of the distribution of property. However, our present study is no more specifically concerned with this than is the film production of Western Europe.

      *Marx says capitalism produces the seeds of its demise. We can think of that as a guiding principle in which capitalism produces the neorosis that leads Chaplins character into a destructive set of behaviors that stops the Fordist capitalist production in a factory.

      Feelings of belongoing and togetherness and being overhwemed by a mass you want to be a part of , but for Benjamin this is a trynanny where people feel they are in control but they are not really in control. Thus communism replies by politicizing art. Art for art's sake is harmful when put in the service of a facist regime. Art for political progress.

      The growing proletarianization of modern man and the increasing formation of masses are two aspects of the same process. Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves.21 The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values.

      Film is not merely a translation of an in-person thetaer performance. Rather film is performing for future audiences and for the director and for cinematrography. This supports the idea that film is a collabroative creation that brings an object into the world.

      One film can be playing multiple times around the world and so this can be distributed on mass scale.

      Film is not merely a recording of reality. Film reproduced new aspects of the things reproduced through slow motion and it brings to light entirely new aspects of matter but discloses quite aspects within them. If Benjamin merely interested in the epistemological possibility of the film to expand our limited perceptual appartus, yes but think about how this reinforces his claim that film moves us away from the aura,...that if we can see unknown aspects by recording it then we can't rely on film to reproduce an original we have to keep in mind that the image is qualitatively distinct from our perceptual access to the thing. So film is not merely a copy of the thing that it records.

      Benjamin flips things and says that maybe film isn't art the way we see an art and this will get us away from the trappings.

      What is Benjamin's definition of art which he is defining with the aura, the transcendence of individual of ritual.

      1. substructure or base: factors that produce commodities and economic relations that result from these concrete aspects
      2. superstructure: culture, law, media that for a Marxist thinker emerges in the way that the economic structure functions; the more media/education/political cosumption that you do the less you are going to understand the conditions of your exploitation and the more you are going to think change is possible.
      3. What role does cinema play in the move from cult and aura to mechanical reproduction? See snapshots.
    1. https://warburg.library.cornell.edu/about/mnemosyne-themes

      Looking at the broad themes here makes me wonder if they line up potentially with the larger groups of cards in Warburg's zettelkasten?

      While the non-discursive, frequently digressive character of the Atlas frustrates any smooth critical narrative of its themes and contents, nine thematic sequences may still be discerned:

      The ideas of non-discursive, digressive, and frustrated narrative could easily be applied to a stranger approaching another person's collection of notes.

    1. mais que le service numérique puisse agir sur le comportement de l’utilisateur.

      Problematique de tout produit, ou 'outil informatique" : il a une fin determinee. Quand cet outil est destine a une personne, on attend qu'il serve une raison. Sinon "c'est de la deco". C'est en ca que l'oeuvre d'art est peut-etre le seul artefac qui echappe a cette regle.

  19. Dec 2021
    1. Drexel, for instance, held those teach-ers ridiculous who taught students to build up houses and rooms by means of imagination and stock them with images of memorable subjects (imagines agentes).16 According to the German Jesuit, the effort was not only huge but students wasted their time because images escape from these artificial places

      much as prisoners escape from jails without guards.17 16 Drexel, Aurifodina, 258 17 Drexel, Aurifodina, 3–4.

      Jeremias Drexel (1581 – 1638) recommended against the method of loci during the explosion of information in the late 16th and early 17th centuries.


      Add Drexel to the list of reformers against the ars memoria in the early 1600s.)


      While dealing with the information overload, educators may have inadvertently thrown out the baby with the bath water. While information still tends to increase and have increased complexity, some areas also show compression and concatenation and new theories subsume old information into their models. This means that one might know and understand Einstein which means that memorizing Newton's work is no longer needed at some point. Where should one draw the line of memorization for subsuming the knowledge of their culture? Aren't both old and new methods for memory usable? Keep the ars memoria while also using written methods.

    2. Simultaneously, there was a revival of the old art of excerpting and the use of commonplace books. Yet, the latter were perceived no longer as memory aids but as true secondary memo-ries. Scholars, in turn, became increasingly aware that to address the informa-tion overload produced by printing, the best solution was to train a card index instead of their own individual consciousness.

      Another reason for the downfall of older Western memory traditions is the increased emphasis and focus on the use of commonplaces and commonplace books in the late 1400s onward.

      Cross reference the popularity of manuals by Erasmus, Agricola, and Melanchthon.

    3. Over these two centuries, an in-creasing impatience for the ancient art of memory based on the use of imagi-nation could be detected in the academic milieu.

      Following the invention of moveable type, the information overload created in the two centuries between 1550 and 1750, placed a major burden and impatience, particularly on academic scholars, on the use of the ancient arts of memory based on the use of imagination. In addition to the education reforms by those like Peter Ramus, this may have been a major motivating factor for forgetting this prior tradition of knowledge acquisition and management.

      What is one to do when there's seemingly "too much to memorize"?

  20. Nov 2021
    1. It wasn’t until the twentieth century that art historians determined that the figure was Aristotle

      What evidence was given for this identification of Homer and Aristotle?

    2. he Western tradition has never been more appealingly portrayed than in Rembrandt’s 1653 painting “Aristotle with a Bust of Homer.” Whether you stand in front of it at the Metropolitan Museum or look at it online, the painting turns you into a link in a chain that goes back three thousand years.

      Not sure how they manage not to link Rembrandt's 1653 painting "Aristotle with a Bust of Homer" here.

      Rembrandt - Aristotle with a Bust of Homer - WGA19232.jpg<br>By <span title="Dutch painter and etcher (1606-1669)">Rembrandt</span> - Unknown source, Public Domain, Link

      It might also be more interesting to use the metaphor of a ladder here than a chain to give a tangential nod to Western culture's scala naturae.

    1. How can these modern translations and related translations be compared and contrasted to the original passage of the stories in their original bardic traditions?

      Cross reference the orality work of Milman Parry, et al.

    1. Art, to me, is language. It’s a way to communicate something that words can’t make you think, understand, or feel. The dream of an autonomous artist is exciting because it mediates a conversation between us and technology. To make art, autonomous, feels like creating life: a machine in the aether that is trying to tell us something. We become symbiotic, like bacteria in our biological bodies, in creating a form of life that talks to itself, and to us through art.
  21. Oct 2021
    1. The applied arts are all the arts that apply design and decoration to everyday and essentially practical objects in order to make them aesthetically pleasing.[1] The term is used in distinction to the fine arts, which are those that produce objects with no practical use, whose only purpose is to be beautiful or stimulate the intellect in some way. In practice, the two often overlap. Applied arts largely overlaps with decorative arts, and the modern making of applied art is usually called design.
    1. The rise of the Nazis in 1933 caused an unprecedented forced migration of hundreds of artists within and, in many cases, ultimately away from Europe. Exiles and Emigres, published in conjunction with a traveling exhibition opening in February 1997 at the Los Angeles County Museum of Art, is the first book to trace the lives and work of 23 well-known painters, sculptors, photographers, and architects exiled from their homelands during the 12 years of Nazi rule.

      “The Bauhaus concept, as it was transplanted to the United States, was fundamentally different from the principles upon which the experimental school had been founded in Weimar in 1919. The guiding principle of the Bauhaus was to unify all aspects of art making—painting, sculpture, handicrafts—as elements of a new kind of art, erasing the division between “high” and decorative art. Explorations of materials, color, and form were important building blocks of the curriculum. The artists and designers of the Bauhaus believed that this new type of art and design would help to create a better society, and they sought commissions to design public buildings and other elements of public life (such as flags and currency). In America, however, the Bauhaus ideas lost their social and political thrust. The emigré teachers in Chicago, Cambridge, and North Carolina who had been committed to progressive architecture and design ideas in Germany were now lionized as upholders of a pure, reductivist style.”

      (Stephanie Barron, page 25)

    1. Design for the Real World

      by Victor Papanek

      Papanek on the Bauhaus

      Many of the “sane design” or “design reform” movements of the time, such as those engendered by the writings and teachings of William Morris in England and Elbert Hubbard in the United States, were rooted in a sort of Luddite antimachine philosophy. By contrast Frank Llloyd Wright said as early as 1894 that “the machine is here to stay” and that the designer should “use this normal tool of civilization to best advantage instead of prostituting it as he has hitherto done in reproducing with murderous ubiquity forms born of other times and other conditions which it can only serve to destroy.” Yet designers of the last century were either perpetrators of voluptuous Victorian-Baroque or members of an artsy-craftsy clique who were dismayed by machine technology. The work of the Kunstgewerbeschule in Austria and the German Werkbund anticipated things to come, but it was not until Walter Gropius founded the German Bauhaus in 1919 that an uneasy marriage between art and machine was achieved.

      No design school in history had greater influence in shaping taste and design than the Bauhaus. It was the first school to consider design a vital part of the production process rather than “applied art” or “industrial arts.” It became the first international forum on design because it drew its faculty and students from all over the world, and its influence traveled as these people later founded design offices and schools in many countries. Almost every major design school in the United States today still uses the basic foundation course developed by the Bauhaus. It made good sense in 1919 to let a German 19-year-old experiment with drill press and circular saw, welding torch and lathe, so that he might “experience the interaction between tool and material.” Today the same method is an anachronism, for an American teenager has spent much of his life in a machine-dominated society (and cumulatively probably a great deal of time lying under various automobiles, souping them up). For a student whose American design school slavishly imitates teaching patterns developed by the Bauhaus, computer sciences and electronics and plastics technology and cybernetics and bionics simply do not exist. The courses the Bauhaus developed were excellent for their time and place (telesis), but American schools following this pattern in the eighties are perpetuating design infantilism.

      The Bauhaus was in a sense a nonadaptive mutation in design, for the genes contributing to its convergence characteristics were badly chosen. In boldface type, it announced its manifesto: “Architects, sculptors, painters, we must all turn to the crafts.… Let us create a new guild of craftsmen!” The heavy emphasis on interaction between crafts, art, and design turned out to be a blind alley. The inherent nihilism of the pictorial arts of the post-World War I period had little to contribute that would be useful to the average, or even to the discriminating, consumer. The paintings of Kandinsky, Klee, Feininger, et al., on the other hand, had no connection whatsoever with the anemic elegance some designers imposed on products.

      (Pages 30-31)

  22. Sep 2021
    1. https://www.youtube.com/watch?v=gJ7CyM1Zrqc

      An interesting experiment to change one's schedule this way.

      I feel like I've seen a working schedule infographic of famous writers, artists, etc. and their sample work schedules before. This could certainly fit into that.

      One thing is certain thought, that the time of waking up is probably more a function of the individual person. How you spend your time is another consideration.

      “Without great solitude, no serious work is possible.” ― Picasso

      “Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring mine to bear on one thing only: my paintings, and everything else is sacrificed to it...myself included.” ― Picasso

      Every child is an artist. The problem is how to remain an artist once he grows up. —Picasso

      see also: https://quoteinvestigator.com/2015/03/07/child-art/

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  23. minus.social minus.social
    1. Just like life, Minus has limits. Try it out today and see what online interaction feels like on a social network designed for less.
    2. Minus is a finite social network where you get 100 posts—for life.

      What a great idea, and not just for conceptual art!

    1. https://fs.blog/2021/07/mathematicians-lament/

      What if we taught art and music the way we do mathematics? All theory and drudgery without any excitement or exploration?

      What textbooks out there take math from the perspective of exploration?

      • Inventional geometry does

      Certainly Gauss, Euler, and other "greats" explored mathematics this way? Why shouldn't we?

      This same problem of teaching math is also one we ignore when it comes to things like note taking, commonplacing, and even memory, but even there we don't even delve into the theory at all.

      How can we better reframe mathematics education?

      I can see creating an analogy that equates math with art and music. Perhaps something like Arthur Eddington's quote:

      Suppose that we were asked to arrange the following in two categories–

      distance, mass, electric force, entropy, beauty, melody.

      I think there are the strongest grounds for placing entropy alongside beauty and melody and not with the first three. —Sir Arthur Stanley Eddington, OM, FRS (1882-1944), a British astronomer, physicist, and mathematician in The Nature of the Physical World, 1927

    2. “We don’t need to bend over backwards to give mathematics relevance. It has relevance in the same way that any art does: that of being a meaningful human experience.”

      Paul Lockhart in Lockhart's Lament

    3. “What other subject is routinely taught without any mention of its history, philosophy, thematic development, aesthetic criteria, and current status? What other subject shuns its primary sources—beautiful works of art by some of the most creative minds in history—in favor of third-rate textbook bastardizations?”

      ---Paul Lockhart

  24. Aug 2021