12 Matching Annotations
  1. Last 7 days
    1. In §§ 4–5, I examine the socio-evolutionary circumstances under which a closed combinatory, such as the one triggered by the Llullian art, was replaced by an open-ended combinatory, such as the one triggered by a card index based on removable entries. In early modernity, improvement in abstraction compelled scholars to abandon the idea that the order of knowledge should mirror the order of nature. This development also implied giving up the use of space as a type of externalization and as the main rule for checking consis-tency.

      F*ck! I've been scooped!

      Apparently I'm not the only one who has noticed this, though I notice that he doesn't cite Frances A. Yates, which would have certainly been the place for having come up with this historical background (at least that's where I found it.)

      The Llullian arts can be more easily practiced with ideas placed on moveable index cards than they might be with ideas stored in one's own memory. Thus the index card as a tool significantly decreases the overhead and provides an easier user interface for permuting one's ideas and combining them. This decrease in mental work appearing at a time of information overload also puts specific pressure on the older use of the art of memory to put it out of fashion.

  2. Apr 2022
    1. Wax tablets were the standard erasable surfacefrom antiquity to the Renaissance: one or more boards, often bound togetherin a codex form, were coated in wax to be inscribed with a stylus then erased forreuse.7 In early modern England one could also purchase pocket-sized writingtablets featuring paper that had been treated so as to offer a rigid writing surfaceon which markings made with the accompanying metal stylus could be erasedwith a little moisture.8 The slate blackboard is also attested in Europe in musicinstruction in the sixteenth century, sized either for group or for personal use(as is still the case today), and was used at least by the eighteenth century in theteaching of astronomy. The sand tray, a board or slab spread with a fine layer ofsand that one inscribed with a stick and could easily erase, was another long-lived medium: used in ancient Babylon and medieval Islam for calculations andin Europe principally for children and artists learning to write or sketch down tothe Victorian period.9 None of these temporary notes have left any traces, exceptthrough extant higher- order notes made from them.
  3. Jan 2022
    1. 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.

  4. Nov 2021
    1. It wasn’t until the twentieth century that art historians determined that the figure was Aristotle

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

  5. Oct 2021
    1. 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)

  6. Sep 2021
    1. “What other subject is routinely taught without any mention of its history, philosophy, thematic development, aesthetic criteria, and current status? What other subject shuns its primary sources—beautiful works of art by some of the most creative minds in history—in favor of third-rate textbook bastardizations?”

      ---Paul Lockhart

  7. Mar 2021
  8. Oct 2020
    1. This painting was discovered in the Bulu Sipong cave on Sulawesi in 2016 and recent analysis has shown that it is the “oldest pictorial record of storytelling” and the “earliest figurative artwork in the world”, and is at least 43,900 years old. (The oldest known drawing in the world, a 73,000-year-old abstract scribble, was found in South Africa in 2018.)
  9. Sep 2019
  10. Mar 2017
    1. " I want there to be a continuum, a narrative, that tracks the history of people disseminating, collecting, sharing data.

      A "static" image / mural that reflects a continuum and a continuum. Paradoxically beautiful.

  11. Jan 2016