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680A Sad Not so Sad Is Rainshine – From Rainday on a Rainy Day — Friedensreich Hundertwasser (1970)

Image | | Paul Greer

“Transautomatism is a modern style of painting, founded by Friedensreich Hundertwasser. It is a kind of surrealism, focusing on the viewer’s fantasy rather than an objective interpretation. Different people see different things in the same picture. The artist’s intention is less pertinent to the end experience, therefore, than how the viewer chooses to interpret it. Transautomatism is based on the different styles which Hundertwasser developed, e.g. spirals and ‘drops’.”

“Transautomatism is about Hundertwasser’s theory that straight lines are ‘godless and immoral’. That as humans we have lost our connection to the organic geometry of nature by forcing ourselves to exist in boxes as homes. He believed in the fluidity of line and shape hence his architectural and painting style. Being educated in a Montessori school his self-directed learning came from nature and therefore his drive to return to colour and organic states.”

— Wiki

“The Stand” by Stephen King

Aside | | Paul Greer

Didn’t quite hit me as hard as it did when I was fifteen (understandable?). But still illuminating and great. Get a real sense of his working process, especially after that bit in On Writing when he talks about the block and how he came through it.

London Symphony Orchestra – Visualizing Motion and Music (2017)

Video | | Paul Greer

“Motion becomes music becomes image! I created dynamic visuals based on the movements of the conductor and music, and extracted high resolution stills for the visual identity of the orchestra.
It starts with the arms of the conductor forming a hexagonal shape that propagates like sonic waves in linear space. When the music becomes louder, the linearity gets bended by the motion of the baton, which results more complex visual arrangements. Textures, colors, materials and lights are inspired by classical instruments (wood, brass, wind, strings) and the atmosphere and architecture of classic concert halls. In the last sequence, the conductors motion turns into strings. The waveform of the sound adds to the form of motion, like mixing audio waves.”

— Tobias Gremmler

via atlasobscura

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Making Sense of Language – Mr. Rogers Set of Rules for Talking to Children

Aside | | Paul Greer

“Rogers was extraordinarily good at imagining where children’s minds might go. For instance, in a scene in which he had an eye doctor using an ophthalmoscope to peer into his eyes, he made a point of having the doctor clarify that he wasn’t able to see Rogers’s thoughts. Rogers also wrote a song called “You Can Never Go Down the Drain” because he knew that drains were something that, to kids, seemed to exist solely to suck things down.”

  1. “State the idea you wish to express as clearly as possible, and in terms preschoolers can understand.” Example: It is dangerous to play in the street. ​​​​​​

  2. “Rephrase in a positive manner,” as in It is good to play where it is safe.

  3. “Rephrase the idea, bearing in mind that preschoolers cannot yet make subtle distinctions and need to be redirected to authorities they trust.” As in, “Ask your parents where it is safe to play.”

  4. “Rephrase your idea to eliminate all elements that could be considered prescriptive, directive, or instructive.” In the example, that’d mean getting rid of “ask”: Your parents will tell you where it is safe to play.

  5. “Rephrase any element that suggests certainty.” That’d be “will”: Your parents can tell you where it is safe to play.

  6. “Rephrase your idea to eliminate any element that may not apply to all children.” Not all children know their parents, so: Your favorite grown-ups can tell you where it is safe to play.

  7. “Add a simple motivational idea that gives preschoolers a reason to follow your advice.” Perhaps: Your favorite grown-ups can tell you where it is safe to play. It is good to listen to them.

  8. “Rephrase your new statement, repeating the first step.” “Good” represents a value judgment, so: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them.

  9. “Rephrase your idea a final time, relating it to some phase of development a preschooler can understand.” Maybe: Your favorite grown-ups can tell you where it is safe to play. It is important to try to listen to them, and listening is an important part of growing.

    via Maxwell King

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Mapping Preferences over Brexit in the House of Commons

Image | | Paul Greer

“The network graph shows how different options are related to each other: they are closer if a greater number of MPs have voted for them. Their size shows the number of favourable votes for each option (none of them obtained a majority.”

alexandre afonso's avatarAlexandre Afonso

In the graph above (zoomable version here), I have mapped the votes of British MPs in the 8 options given to them on March 27 (a couple of hours ago) in indicative votes. This is a 2-mode network linking MPs and options for Brexit. The network graph shows how different options are related to each other: they are closer if a greater number of MPs have voted for them. Their size shows the number of favourable votes for each option (none of them obtained a majority. The graph show the high level of polarisation over these different options, with two clear poles: the “Hard Brexit” pole with a number of MPs for whom the only option is No Deal, or a preferential trade arrangement, and the Soft Brexit-No Brexit pole, linking the Customs Union, Labour’s Plan and a Second Referendum/Revocation of article 50. The EFTA/EEA and Common Market 2.0…

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Forms – From concert programmes to chocolate wrappers – The Manuscripts of Emily Dickinson

Image | | Paul Greer

 

“The way hope builds his house”, Amherst Manuscript # 450 – Source.

 

“Although Dickinson did lead an active life outside the home in her youth, her increasing reclusiveness in her later years give the very notion of house and home a special resonance in her work. As such, the unusual piece pictured below is of particular interest, just one of Dickinson’s many “envelope poems” – the focus of a recent book, The Gorgeous Nothings by Marta Werner and Jen Bervin. In this instance, Dickinson has cut apart an envelope so all that remains are the flap and a portion of the body. She orients the paper so the point of the flap is at the top then she fills that peak with words: “The way hope builds his house…” Or, to phrase it more directly, she writes a poem about a house on a piece of paper that looks like a house.”

— Mike Kelly 

“Necessitates celerity”, Amherst Manuscript # 540 – Source.
“Alone and in a circumstance”, Amherst Manuscript # 129 – Source.

via The Public Domain Review

 

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