What salt-water taffies have to do with hard hats, mannequins and kindergarten playrooms.
Workspaces have their own unique curiosity to them. Unlike homes, which are tailored around just a few residents, a work environment’s design must blend utility, efficiency, and comfort for all the different people who work within its walls. And it’s these people filling the space that give it another design dimension; we inevitably imbue these environments with our design aesthetic and personalities, as we spend countless waking hours inhabiting them. Perhaps this is what makes workspaces so compelling to document.
We’ve compiled a few exceptional projects found on The Behance Network that document people at work, from those who blend seamlessly into their workspaces to the delightful misfits.
How Aristotle went about cultivating virtue, or what Susan Sontag can teach us about self-improvement.
In our ceaseless quest for self-improvement and our relentless pursuit of happiness, most of us have had some brush with the world that lives on the spectrum between self-help books and legitimate clinical psychotherapy. But a compelling new (non-self-help) book suggests many of these methods might be derailing rather than propelling our progress. In Redirect: The Surprising New Science of Psychological Change, social psychologist Timothy Wilson reveals insights from three decades of empirical evidence indicating that what is true of culture is also true of individuals: Our experience of the world is shaped by our interpretations of it, the stories we tell ourselves, and these stories can often become so distorted and destructive that they completely hinder our ability to live balanced, purposeful, happy lives, so the key to personal transformation is story transformation.
Let’s pause here and observe that this seems pretty commonsensical. What’s more, most of us believe that our character and circumstances are so unique that the universal human psychological flaws, biases, and shortcoming we are keenly aware of simply don’t befall us personally. Yet, in one domain of life or another, we find ourselves stuck in thought patterns and behavioral cycles we lack the tools to escape. This, Wilson demonstrates, is a pathological storytelling problem based on the stories we’ve led ourselves to believe and the behaviors that stem from them.
We could solve a lot of problems if we could get people to redirect their interpretations in healthier directions.”
Of course, this isn’t news to anyone who has ever dabbled in cognitive-behavioral therapy — an entire branch of psychotherapy designed to address precisely that. But Wilson argues that there’s a new way to redirect people’s personal interpretations, one that doesn’t require one-on-one sessions and can address a wide array of personal and social problems, from severe trauma to everyday distress.
This new approach is based on the work of Kurt Lewin, who helped found the field of social psychology in the 1930s and 40s, and is rooted in three specific psychological interventions: story-editing — a set of techniques designed to reshape people’s narratives about themselves and the world in a way that results in lasting behavioral change (cue in the famous words of Susan Sontag, one of my big heroes: “I write to define myself — an act of self-creation — part of my process of becoming.”); story-prompting — redirecting people down a particular narrative path with subtle prompts; and do good, be good — an approach that dates back to Aristotle, premised on changing people’s behavior first, which in turn changes their self-perception of the kind of person they are based on the kinds of things they do. Wilson shows how these story-editing techniques have been used to make people happier, improve parenting, solve adolescent behavioral problems, and even reduce the racial achievement gap in schools.
Sample Wilson’s findings in his recent RSA talk. (And rest assured he is much more eloquent and captivating a writer than he is a speaker, bless his heart, as some of the most acclaimed academics tend to be.)
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What Louis XV has to do with H.G. Wells and the hazards of mechanical animation.
Ed.: The lovely and talented Michelle Legro is an associate editor of the history and ideas magazine Lapham’s Quarterly. In her inaugural piece for Brain Pickings, she offers an exclusive snippet of LQ’s forthcoming Fall issue, which explores the future, comes out on September 15, and is an absolute treat of curiosity and fascination — get your hands on it by subscribing today. It’ll be your finest gift to yourself in a long while, we promise.
Talos, the automaton forged for King Minos to protect his kingdom from pirates and invaders, may have been the first robot in recorded literature — made of metal, its veins flowed with ichor, the divine blood of the gods. The Golem of Prague was brought to life to protect the city’s Jews, but it was rendered lifeless when it threatened innocent lives. These proto-robots provided an assurance that one day in the future, statues would move—whether they would protect us or rise against us, it was hard to tell.
“The Future” issue of Lapham’s Quarterly collects more than eight-thousand centuries of forward-looking thought, thanks to the inclusion of both Aeschylus‘ Cassandra and H.G Wells‘ time traveler. Also from the issue, this matrix of historical robots organized by their relative intelligence and creepiness.
You’ll also find two automatons from eighteenth century Europe: the Digesting Duck, which ate and then defecated its meal, and the Chess-Playing Turk, which once played a game with Napoleon. These mechanical parlor tricks captivated court life and inspired writers with uncanny nightmares of moving statues. (Think of the mechanical beauty Olympia from E.T.A. Hoffmann’s early-nineteenth-century horror story “The Sandman.”)
One robot unfortunately not included on the matrix was Louis XV‘s special likeness of his mistress Madame du Barry by wax sculptor Philippe Curtius, better known as the teacher of young Marie Grosholtz, later Madame Tussaud. The wax figure is the oldest in the collection of Tussaud’s London museum, surviving both the French Revolution and a devastating 1925 fire. Laid out on a divan, du Barry appears in the throes of a ravishing dream, her eyes are closed but her chest heaves up and down thanks to a mechanical engine devised by Curtius.
This simple device imparted a serene animation to the lifelike wax, an impression not lost on Louis’s courtiers, who called the sculpture “The Sleeping Beauty.” While her wax-figure has slept quietly for over three hundred years, du Barry herself came to a less quiet end. After her banishment from the court of her lover’s grandson Louis XVI, she was captured by the Jacobins and dragged kicking and screaming to the guillotine.
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