Brain Pickings

Posts Tagged ‘culture’

05 JANUARY, 2012

Bike Art: Bicycles in Art Around the World

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A two-wheel canvas for creativity, or what pedals have to do with pedestals.

We’ve already seen how the humble bicycle can emancipate women (and keep them patriarchy-bound), rein in incredible design innovation, be a manifesto for the creative life, and serve as a metaphor for computers, courtesy of Steve Jobs. But, it turns out, the bike can also be an incredible canvas for art. Bike Art: Bicycles in Art Around the World presents a voyeuristic tour of the lesser-known intersections of art and bike culture, spanning design, performing arts, steampunk, street art, and more through works created on walls, canvases, paper, pedestals, bikeframes, skin and clothing by a range of international artists.

And, of course, what’s a declaration of obsession if not signed by ink? If science geeks can do it, bike geeks can do it:

For more on the fascinating history and far-reaching impact of bike culture, don’t forget Robert Penn’s excellent It’s All About the Bike: The Pursuit of Happiness on Two Wheels.

Images courtesy of Gingko Press; thanks, Sharon

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05 JANUARY, 2012

Three Classic Fairy Tales Examined Through the Lens of Architecture

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What Rapunzel’s braid-to-tree connection has to do with the rotational circumference of Baba Yaga’s house.

As a lover of classic fairy tales and longtime fan of Kate Bernheimer’s modernist ones, I was delighted to come across Design Observer’s three-part series, in which Kate and Andrew Bernheimer reimagine the magical homes from three beloved fairy tales — Baba Yaga, Jack and the Beanstalk, and Rapunzel — through the lens of architecture. In each installment, a different architecture firm selects a favorite fairy tale and examines its pivotal structure through a new kind of imaginative architectural storytelling.

Houses in fairy tales are never just houses; they always contain secrets and dreams. This project presents a new path of inquiry, a new line of flight into architecture as a fantastic, literary realm of becoming. We welcome you to these fairy-tale places.” ~ Kate Bernheimer & Andrew Bernheimer

As a child of Eastern European folklore, I’m partial to the first installment, in which Bernheimer Architecture examine Baba Yaga through its most important structure — the chicken legs, of course — and consider “how one might make a structure or an architecture ‘chicken-like,’ both externally and internally.”

In part two, Leven Betts Studio take a curious paradox of Jack and the Beanstalk — that the vehicle for the story’s magic, adventure and triumph is the beanstalk, yet it’s rarely described — and use it as the focal point of their architectural explorations.

Fairy tales are exemplified by spare and abstract detail, leaving enormous space — big as the sky — for the reader to wonder.”

In the third and final installment, Guy Nordenson and Associates bring their masterful structural engineering to Rapunzel’s tower, blending the original vision of the Brothers Grimm with their own pre-existing design for The Seven Stems Broadcast and Telecommunications Tower .

Rapunzel’s tower has come to symbolize both an enchanted, magical home and a dreadful prison from which to escape. Inside, one’s heart is full of desire and longing; and one must always also get out. The complicated emotional valence of this space is part of its longstanding appeal.”

For more modernist fairy tale magic, don’t miss Kate Bernheimer’s My Mother She Killed Me, My Father He Ate Me: Forty New Fairy Tales — a wonderful anthology of stories by some of today’s greatest fiction writers, including Neil Gaiman, Michael Cunningham, Aimee Bender and Lydia Millet. And for a classical take, look no further than the best illustrations from 130 years of the Brothers Grimm.

via It’s Okay To Be Smart

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05 JANUARY, 2012

A Rare Look at Samuel Beckett’s Doodle-Filled Notebooks

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What colored crayons have to do with deadpan philosophical humor and the gargoyles of Notre-Dame.

Novelist, playwright, poet, and Nobel laureate Samuel Beckett (1906-1989) is one of the most influential writers of the 20th century. As a hopeless lover of marginalia and voyeur of famous creators’ notebooks, I was thrilled to discover these excerpts from the original manuscript of Watt, Beckett’s second novel and a pinnacle of his signature deadpan philosophical humor, courtesy of the Harry Ransom Center at the University of Texas at Austin. The manuscript consists of 945 pages spanning six notebooks and loose sheets, written in ink and colored crayons between 1940 and 1945, and features a wealth of doodles, sketches, mathematical calculations, rhyming schemes, and drawings.

Watt is a whale of a manuscript—a white whale. Among the thousands of modern manuscripts in the Ransom Center, it glows like a luminous secular relic. It is, at moments, magnificently ornate, a worthy scion of The Book of Kells, with the colors reduced to more somber hues. The doodles, cartoons, caricatures, portraits en cartouche include reminiscences of African and Oceanic art, the gargoyles of Notre-Dame, heraldry, and more. Beckett’s handwriting is at its most deceptively cursive. Eppur si legge! And it ‘reads’ in other ways too. Jorge Luis Borges, examining Watt tactilely, sensed something of its extraordinary qualities, which, obviously, must transcend the visual. He asked his companion to describe it to him. This she did in detail, Borges nodding, ‘Yes, yes,’ with a happy smile throughout her description.”

The first notebook of Watt signed and marked 'Watt I,' with the following note: 'Watt was written in France during the war 1940-45 and published in 1953 by the Olympia Press.' On an inserted sheet, Beckett has written, 'Begun evening of Tuesday 11/2/41.'

The first page of the second notebook of Watt is dated '3/12/41.'

The first page of the third notebook of Watt shows the date '5.5.42'

The cover of the fourth notebook of Watt is marked 'Poor Johnny / Watt / Roussillon,' and page 1 is headed, 'Roussillon, October 4th 1943.'

A page from the typescript of Watt

On the cover of Notebook 5 of Watt Beckett has written in variously colored inks, 'Watt V/Suite et-fin (et-fin crossed through) /18.2.45/Paris/Et début de L'Absent/Novembre-Janvier 47/48.' He has indicated that L'Absent is Malone Meurt. Page 99 has the note, 'End of continuation of Watt. Conclusion in Notebook VI.'

Although in Notebook I, Beckett placed the completion of Watt in 1945, he concludes the sixth notebook with 'Dec 28th 1944/End.'

For more voyeuristic indulgence, don’t forget these five peeks inside the notebooks and sketchbooks of cultural icons across art, design, and science.

Thanks, Elana

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