Brain Pickings

Posts Tagged ‘photography’

02 FEBRUARY, 2012

Lost in Learning: Celebrating the Art and Spirit of Discovery

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What Galileo has to do with Columbus, The Library of Congress, and rediscovering the great purpose of art.

For four years, Bulgarian-born, Boston-based photographer Eva Koleva Timothy traveled the world, from Oxford’s libraries to Florence’s cathedrals, to pin down the ghosts of the intellectual restlessness that made humanity turn its gaze into the heavens, point its lens across the seas, and channel its fervor onto the canvas. The result is Lost in Learning: The Art of Discovery — a beautiful project-turned-book that breathes new life into historical photographs, manuscripts, and other archival materials to reveal timeless insights on curiosity, creativity, and intellectual inquiry based on the work and legacy of iconic thinkers from the Age of Discover, including Sir Isaac Newton, Leonardo da Vinci, Christopher Columbus, and Galileo Galilei.

Alongside each striking black-and-white image, playing with light and refraction to an incredibly dimensional effect, are Timothy’s poetic meditations on the minds and mindsets responsible for some of our civilization’s most significant feats of discovery, and what they reveal about the nature and future of contemporary creative thought.

Far from a mere lens on nostalgia and the romantic past, at the project makes a passionate case for resuscitating the cult of discovery as a driving force of culture’s future. British poet Ralph Windle writes in the foreword:

For all its rich evocation of history, however, this monograph looks forward more than back… Something much more important is happening here, and it connects in an exciting, novel way with one of the mainstream developments in contemporary literature and art.”

At its heart, Lost in Learning, which Timothy calls “an art book for the Dreamers,” is a beautiful crusade to rediscover discovery and reinstate curiosity as the great purpose of art and the great gift of the artist.

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01 FEBRUARY, 2012

Pasta by Design: Finding Whimsy in the Geometry of Food

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Phylogeny of the pantry, or what architecture has to do with anellini.

In 2010, London chef extraordinaire Jacob Kenedy with award-winning British graphic designer Caz Hildebrand explored the geometry of pasta — a journey into the science, history, and philosophy of Italy’s most iconic pasta dishes through a minimalist, design-driven cookbook. Now comes Pasta by Design, an even more ambitious design dissection on the beloved carb staple, exploring the intricate, beautiful, almost whimsical geometrical shapes of more than 90 different types of pasta.

(After all, if geometry is good enough a lens for love, it’s certainly good enough for pasta.)

Pasta, it turns out, is a surprisingly apt vehicle for the elements of great design. MoMA’s Paola Antonelli () writes in the introduction:

Pasta, that simple and yet surprisingly versatile mixture of durum wheat-flour and water, shaped by hand or machine, is a delicious example of great design. Just like any other indispensable invention, pasta matches the available resources (wheat — one of the most widely produced cereals in the world) with goals (the human need not only to eat, but also to have a somewhat diversified diet). As well as being a design born out of necessity, it is also such a simple and strong concept that it has generated an almost endless variety of derivative pasta types — and an even greater number of dishes made from them. Moreover, it has proven to be a timeless design; although pasta’s production tools may have been updated across the centuries, its basic forms have remained the same. It is also a global design, easy to appropriate and adapt to local culture — as can be seen from the many regional varieties of pasta dishes across the world. Finally, pasta is a universal success with both critics and the public, thus also passing the market-driven design test.”

Given the astounding variety of pasta types and the often confusing nomenclature of their classification, the book takes an approach inspired by the science of phylogeny — the study of relatedness between groups of forms in nature — to pare down 92 different types based on their morphological features, then charts them in a family tree.

Each shape is described in a meticulous mathematical formula, and expressive minimalist photographs and drawings zoom in on the hidden genius of the classic pantry mainstay.

Quirky in spirit yet rigorously researched and beautifully produced, Pasta by Design at once humanizes mathematics and exposes the captivating complexity of one of the world’s most beloved foods, revealing the dimensionality of design as a cross-disciplinary cultural lens.

Images courtesy of Thames & Hudson; photographs via IJP

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23 JANUARY, 2012

Architecture Without Architects: What Ancient Structures Reveal About Collaborative Design

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From Rome’s theater districts to China’s underground cities, or what pleasure has to do with utility.

The mythology of the sole genius underpins most contemporary creative disciplines, but it is particularly pronounced in architecture, where the image of the visionary diva-architect endures as the gold standard of the discipline’s success. In 1964, Moravian-born American writer, architect, designer, collector, educator, designer, and social historian Bernard Rudofsky examined a whole other side of architecture in Architecture Without Architects: A Short Introduction to Non-Pedigreed Architecture — a fascinating lens on “primitive” and communal architecture, exploring both its functional value and its artistic richness, with a focus on indigenous tribal structures and ancient dwellings. Rudofsky peels the pretense of architecture from the creative and utilitarian acts of building to reveal a kind of vernacular, communal architecture embodying a timeless art form that springs from the intersection of human intelligence, necessity, and collective creativity.

I believe that sensory pleasure should take precedence over intellectual pleasure in art and architecture.” ~ Bernard Rudofsky

Underground city near Tungkwan (China)

Anticoli on the Sabine Mountains (near Rome)

Rudofsky was concerned with the cultural bias of architectural history, so he took a special interest in the vernacular architecture of non-Western communities.

Architectural history, as written and taught in the Western world, has never been concerned with more than a few select cultures. In terms of space it comprises but a small part of the globe -Europe, stretches of Egypt and Anatolia- or little more than was known in the second century AD. Moreover, the evolution of architecture is usually dealt with only in its late phases.” ~ Bernard Rudofsky

Cliff dwellings of the Dogon tribe (Sudan)

(Curiously, Rudofsky’s black-and-white photographs of clustered housing units bear a visceral resemblance to the illustrations of Soviet mathematician-turned-artist Anatolii Fomenko, conveying a strange sense of organic order.)

Marrakech (Morocco)

The structures in Architecture Without Architects reveal a kind of purposeful, iterative, social design process that, while dating back centuries and originating in primitive cultures, offers a powerful parallel to contemporary shifts towards collaborative creation.

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