the child grows enormous but never grows up
heheheheheheheeheheheehehe:

chart re The Contemporary Short Story, a craft class by Tao Lin in Sarah Lawrence’s MFA program in fall 2012
relevant links: 2048px chart, class description, syllabus

heheheheheheheeheheheehehe:

chart re The Contemporary Short Story, a craft class by Tao Lin in Sarah Lawrence’s MFA program in fall 2012

relevant links: 2048px chart, class description, syllabus

robertogreco:

Inuit Genealogy (via @vruba), explained by John Fass:

The diagram above is a genealogical diagram made in the mid 1950s by anthropologist Jean Malaurie, the first of its kind. It’s a hand made radial drawing, Malaurie has a whole series of them in his apartment in Paris, along with his extensive personal archive of research materials including photos, films, notebooks, drawings.

Fass is working on a “a research project related to Canadian and Greenland Inuit.” In relation to that project, he has also written a paper titled “Designing for Slow Technology: Intent and Interaction” [.pdf]:

I argue in this paper for the value of adopting some specific design approaches when creating slow technology, how to create long lasting relationships with technology, and how to design reflective or slow digital interactions. The problem I have addressed is how to design for long lasting technologies with changing users. My approach is informed by activity theory, which provides a theoretical and methodological perspective while design principles inform ideas of process, structure and interaction. The contribution to HCI is in the view of slow technology as demanding a unique set of design skills.

robertogreco:

Inuit Genealogy (via @vruba), explained by John Fass:

The diagram above is a genealogical diagram made in the mid 1950s by anthropologist Jean Malaurie, the first of its kind. It’s a hand made radial drawing, Malaurie has a whole series of them in his apartment in Paris, along with his extensive personal archive of research materials including photos, films, notebooks, drawings.

Fass is working on a “a research project related to Canadian and Greenland Inuit.” In relation to that project, he has also written a paper titled “Designing for Slow Technology: Intent and Interaction” [.pdf]:

I argue in this paper for the value of adopting some specific design approaches when creating slow technology, how to create long lasting relationships with technology, and how to design reflective or slow digital interactions. The problem I have addressed is how to design for long lasting technologies with changing users. My approach is informed by activity theory, which provides a theoretical and methodological perspective while design principles inform ideas of process, structure and interaction. The contribution to HCI is in the view of slow technology as demanding a unique set of design skills.

mianoti:

Leslie Kwok *
This is a record of all the rooms I have lived in since birth—a total of 16 rooms. The scale is proportional to memory.

mianoti:

Leslie Kwok *

This is a record of all the rooms I have lived in since birth—a total of 16 rooms. The scale is proportional to memory.

anticipatedstranger:

via NYPL
wallacegardens:


New and improved view of the Comparative Heights, of the Principal Mountains and Lengths of the Principal Rivers of the World. (1823) William Darton and W. R. Gardner
This was a ground-breaking convention, illustrating both mountains and rivers on the same chart, and defining cartographic chart styles throughout the 19th Century. 

wallacegardens:

New and improved view of the Comparative Heights, of the Principal Mountains and Lengths of the Principal Rivers of the World. (1823) William Darton and W. R. Gardner

This was a ground-breaking convention, illustrating both mountains and rivers on the same chart, and defining cartographic chart styles throughout the 19th Century. 

felixsalmon:

7-way Venn. Amazing, beautiful.

felixsalmon:

7-way Venn. Amazing, beautiful.

patternbank:

We are forever tracking new forms of pattern, and recently saw these stunning computer-generated art statements by German artist Holger Lippmann. His intricate digital patterns still look more hand crafted than electronically mastered. Lippmann, who studied Sculpture at the Art Academy Dresden before continuing his studies in Stuttgart, Paris and New York. Check out more of Holger Lippmann’s experimental digital painting on his new site and Behance.
Original Article

patternbank:

We are forever tracking new forms of pattern, and recently saw these stunning computer-generated art statements by German artist Holger Lippmann. His intricate digital patterns still look more hand crafted than electronically mastered. Lippmann, who studied Sculpture at the Art Academy Dresden before continuing his studies in Stuttgart, Paris and New York. Check out more of Holger Lippmann’s experimental digital painting on his new site and Behance.

Original Article

ilovecharts:


Ten extraordinary years of art history - the Impressionists, Neo - Impressionists and Post - Impressionists were responsible for a revolution in color. Within this colour trend visualisation, each chart represents an individual painting with the five most prominent colours shown proportionally.

ilovecharts:

Ten extraordinary years of art history - the Impressionists, Neo - Impressionists and Post - Impressionists were responsible for a revolution in color. Within this colour trend visualisation, each chart represents an individual painting with the five most prominent colours shown proportionally.

lazenby:

The chart and its transcription that W.H. Auden handed out to the students who took his 1943 class at Swarthmore, ‘Romanticism from Rousseau to Hitler.’ The chart is something like everything Auden can think to say about the world.  
oh P.S. 
‘Romanticism from Rousseau to Hitler’ was the second class Auden taught at Swarthmore. The final exam of the first (fall, 1942 ‘English Literature during the Reign of Elizabeth I’) consisted of only one question:


Explain why the devil is (a) sad and (b) honest.

lazenby:

The chart and its transcription that W.H. Auden handed out to the students who took his 1943 class at Swarthmore, ‘Romanticism from Rousseau to Hitler.’ The chart is something like everything Auden can think to say about the world.  

oh P.S. 

‘Romanticism from Rousseau to Hitler’ was the second class Auden taught at Swarthmore. The final exam of the first (fall, 1942 ‘English Literature during the Reign of Elizabeth I’) consisted of only one question:


Explain why the devil is (a) sad and (b) honest.



b-c-d:
mythologyofblue:

Sebastian Adams, Synchronological Chart of Universal History, detail, 1881

mythologyofblue:

Sebastian Adams, Synchronological Chart of Universal History, detail, 1881

mythologyofblue:


Patterns of Lighthouse Floors, c.1850
(propaedeuticist)

mythologyofblue:

Patterns of Lighthouse Floors, c.1850

(propaedeuticist)

mythologyofblue:


Sandro Botticelli, Chart of Hell, c.1480-95

(mapsinchoate)

mythologyofblue:

Sandro Botticelli, Chart of Hell, c.1480-95

(mapsinchoate)