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

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.

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?

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.

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.

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.

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

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.

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.

https://www.nytimes.com/2022/01/19/style/andre-leon-talley-dead.html

Dissertation: North African figures in nineteenth century French painting and prose. Talley, André Leon.

Physical copy available, but not digital: https://bruknow.library.brown.edu/discovery/fulldisplay?docid=alma991040298339706966&context=L&vid=01BU_INST:BROWN&lang=en&search_scope=MyInst_and_CI&adaptor=Local%20Search%20Engine&tab=Everything&query=any,contains,Andr%C3%A9%20Leon%20Talley%20thesis&offset=0

The Lost Arts of Memory by Daniel J. Boorstin The Wilson Quarterly, Spring 1984 104-113

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.

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.

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.

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.

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"?

https://medium.com/skeb-jp/guide-154f3a80c3b6

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

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

<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.

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.

via Nicolás Alcalá in the Design Science Studio

“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)

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)

Priya Parker, spouse of Anand Giridharadas, author of Winners Take All: The Elite Charade of Changing the World.

Mixing science and art to make the truth more interesting than lies. (n.d.). Retrieved September 28, 2021, from https://theconversation.com/mixing-science-and-art-to-make-the-truth-more-interesting-than-lies-100221?utm_source=twitter&utm_medium=bylinetwitterbutton

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/

https://www.youtube.com/watch?v=ewsGmhAjjjI

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

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

Paul Lockhart in Lockhart's Lament

---Paul Lockhart

Speculation on plant life in the future. Interesting presentation

The process, the visuals, the sound - this is appealing. Not sure if/where/how it fits, but I appreciate knowing about this.

provoking discussion on where audience puts faith/belief/investment in the future (digital / NTF or physical.

Artist practice similar to my own. Worth further investigation, connection.

Sketchnotes by Chad Moore and Chris Wilson

https://vi.to/hubs/microcamp/pages/chad-moore-and-chris-wilson?v=chad-moore-and-chris-wilson&discussion=hidden&sidebar=hidden

Sketchnotes are ideas not art.

Squiggle birds - take squiggles and give them beaks, eyes, and bird feet. (Idea apparently from Austin Kleon.)

How you might take notes if you'd never been told how to.

• There is no particular app or platform that is the "right" one.

Common elements:

• Headlines and sub headlines are common
  • Elegant text / fancy text
• Icons
• containers - ways of holding information together
  • this can be explicit or via white space
• flow of information (arrows)
• arrangements or layouts of how information is displayed
  • top to bottom, circles, columns, stream of flow of ideas
• people
  • emotions, perhaps using emoji-like faces
• shadows, highlights

Icons

Simple can be better. Complexity may make understanding more difficult.

Examples

A few they pulled off of the web

Sketchnote Selfie

Goal: Create an info rich portrait with character. Portrait, name, info, location, passions, hobbies, interests, social usernames, now section, etc.

https://www.etymologynerd.com/infographics.html

Some great stuff here

https://www.npr.org/2021/08/06/1020773349/sparks-brothers-edgar-wright-documentary-leos-carax-annette

https://www.latimes.com/entertainment-arts/story/2021-07-06/gainsborough-blue-boy-loan

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'></span>Barrett Swanson Via: [Letter from Los Angeles] The Anxiety of Influencers, | Harper's Magazine (<time class='dt-published'>05/28/2021 11:26:47</time>)</cite></small>

See also: https://en.wikipedia.org/wiki/The_Work_of_Art_in_the_Age_of_Mechanical_Reproduction

I used to watch a TV show called "Art Attack" when I was a child, which is also my initiation of art. I remember he created a huge artwork made up of used clothes, trash, and some garbage bags. That was also the first time that I know the form of art can be various and diverse. Have you watched this TV show before?

There is definitely an art to writing interesting marginalia however. Perhaps something that requires practice?

Sam Anderson's would be intriguing I'm sure. Dick Macksey's marvelous. Anderson provides the example of people wanting books from [[Samuel Taylor Coleridge]] earlier in the piece.

I can only contrast this with some of the crazy minutiae an pedantry I've seen on Hypothes.is which makes me think that it's surely an art form.

I suspect some of it is that I'm missing the personal context with a particular person---a sense of continuity. Things get even worse when it's a piece annotated by a class which can create a cacophony of annotations. I see far too many "me too" annotations floating around in the margins that don't add anything to the conversation. (Hopefully I'm not guilty of this sin myself, but really, even my public annotations are a conversation between me and a piece and are only for my own benefit.)

https://en.wikipedia.org/wiki/The_Work_of_Art_in_the_Age_of_Mechanical_Reproduction

We don't often realise that writing is a creative act, and that all creative acts are about making choices.

This is a cool little tool for turning self-made pixel art to CSS.

A nice overview of indigenous art in Australia from about the 1940's until today. Some fantastic pieces in here.

Cymry ar Gynfas Seren Morgan Jones a Kizzy

In this programme the artist Seren Morgan Jones who's famed for her strong portraits of women will attempt to paint a portrait that will please singer/songwriter Kizzy Crawford.

Yn y rhaglen hon bydd yr artist Seren Morgan Jones sy'n enwog am ei phortreadau cryf o fenywod yn mynd ati i geisio peintio portread fydd yn plesio y cerddor a'r gantores Kizzy Crawford.

7:09 - Discussion of a custom template for use cases; this sounds a bit like some customization similar to Open Scholar on Drupal

Here's a link to Alan Levine's work here: https://cogdogblog.com/category/twu-portfolios/

What has support for WPMU looked like within the pandemic?

Laurie Miles, UNC Asheville

• Uptick with faculty looking for tools to be online. They've gone from 6 or 7 in past years to 17
• Sharing resources with colleagues within the department or at other institutions

Shannon Hauser, University of Mary Washington

• They've seen a disconnect between their LMS (Canvas) and Domains with the LMS winning out

Colin Madland, Trinity Western University

• Didn't have a culture of online teaching
• Fine arts department started tinkering and others within the department are using that template. They spent some time and thought in the Summer and that made it easier for them in the fall.

Jim Groom talked about a "motherblog" (a planet made via RSS). How can we center the idea of a webmention hub to do this?

There was a lot of reversion to what was comfortable in the move to all online pedagogy. Professors were comfortable with lectures, so they stuck with that. There wasn't an emphasis on actual learning.

I should note Glenn Zucman's art work to Colin to pass along to their art department. There could be a community of use cases that might help each other experiment and expand on their ideas.

Sometimes creation is for us, I think, and sometimes things need to be out. How do we know which are private and which iarefor the world?

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Ruth SchusterApr. 8, 2021</span> in Israeli archaeologists crack mystery of cave paintings done in the dark - Archaeology - Haaretz.com (<time class='dt-published'>04/12/2021 13:50:12</time>)</cite></small>

Article synopsis of paper that looks at hypoxia with relation to artistic asphyxia in pre-historic cave art. The use of torches, lamps, or fire in small enclosed spaces may have influenced early cave art.

Here again, the sentence reads well if we replace rituals and beliefs with mnemonic practice.

This fits into a mnemonic perspective of life as being something greater than religion or ancestor worship. The ancestor worship part comes in because they're a thing to attach our memories of needed culture and knowledge to. They're also important because they're the ones that discovered the knowledge and helped to hand it down.

Shamanic instances could support knowledge preservation and communication to following generations.

If these were used for societal memory purposes, the privacy of the caves as well as the auditory and even halucinatory effects could have helped as well.

What sorts of other things would we expect to see in such instances? Definitely worth looking at Lynne Kelly's ten criteria in these situations, though some of them are so old as to be unlikely to have as much supporting evidence.

Dating of the oldest cave art to about 45,500 years ago.

If the groups were large enough and stayed for long enough, they could have induced hallucinations just based on many people depleting oxygen in small enclosed spaces.

An excellent article exploring the origins of "Kawaii" (Japanese for "cute") style as manifested through modern artists in Japan such as Yoshitomo Nara and especially Takashi Murakami, whose aesthetic has won him high-profile collaborations with Kanye West (most notably the album cover of Graduation) and more recently Billie Eilish's video for "You should see me in a crown." The rising popularity of artists like Murakami, which dovetails with the ascendance of cutesy, non-threatening corporate design being discussed here illustrates how the patterns discussed in this article are both a product of and a reaction to a broader cultural trend of adult infantilization.

Now I'm really intrigued, an artist using these methods (especially cybernetics?!) .

This is an important point that many miss about art.

And yet it also IS, and there is no problem with it being both. The gardener can create function but also great expression for the sake of beauty itself.

There was never any crossover between the time of da Vinci and there being schools with an art budget.

An obvious take on the Starbucks Logo, but is there cultural appropriation here and which direction is it going in? (Cross reference: https://www.logogenie.net/blog/starbucks-logo-a-brief-history-of-their-logo-design-evolution-and-what-makes-it-so-great )

As I think back on this a few minutes later, I'm reminded that many of these sorts of abstract art forms are found not only in totems, but are seen in neolithic stone balls, European neolithic decorative art, or could have been used to decorate lukasa memory boards).

This may make them more valuable within a system for using these individual art pieces as memory devices.

https://www.npr.org/sections/health-shots/2020/01/11/795010044/feeling-artsy-heres-how-making-art-helps-your-brain

https://www.nga.gov/music-programs/podcasts.html

https://oefy.com/blogs/art-therapy/art-therapy-to-process-emotions

This is the structure of so many confidence games.

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Nature</span> in Annotating the scholarly web : Nature News & Comment (<time class='dt-published'>12/09/2019 07:11:28</time>)</cite></small>

Shepard Fairey on the link between his Obey campaign and the movie They Live.

I love this esthetic myself.

I really love this illustration.

Audio interview about art and the brain

precuneus and parietal lobe functions

Art and the brain

Starting research on the art and the mind.

some literature on organizations such as [[MyPsySpace]] and [[Virtual Reality Medical Center]]

https://hyp.is/go?url=https%3A%2F%2Fwww.archdaily.com%2F627654%2Fthe-computer-vs-the-hand-in-architectural-drawing-archdaily-readers-respond&group=__world__

I came across this article about the tension between computer drawing and hand drawing in architecture when I replied to an annotation by another user @onion - very interesting read and I would be curious to see this issue revisited in another ten years...how may opinions have changed?