A surrealist journey through colours and shapes inspired by the poem Romance Sonámbulo by Federico García Lorca. Visual poetry in the rhythm of fantastic dreams and passionate nights. A film by Theodore Ushev. Music by Kottarashky
Technological innovations will continue to wow and delight, but they’ll also come and go. In the creative world there is no replacement for the human touch as Australian calligrapher Gemma O’Brien shows us. O’Brien likens creating live art to sport. “You can’t just look away,” she says. While an artist like an athlete, can practice a concept to perfect it, the actual performance forces an artist to take a leap into an environment where mistakes can’t be airbrushed out. Here, O’Brien discusses why authenticity trumps perfection
Read the rest at 99U
Alec Wilkinson writing for The New Yorker: “She Said She Said” described a mystery I could see on the horizon, vibrating like a mirage. I am the youngest by some degree of four brothers, so I was conditioned to believe and to feel that the secrets of existence were in the possession of people a few years older than I was, who were closer to the ages of the Beatles.
Read the full article: The New Yorker
Recipe books from the Middle Ages reveal the extreme methods artists pursued to achieve their reds. For the most part, painters have always loved red, from the Paleolithic period to the most contemporary. Very early on, red’s palette came to offer a variety of shades and to favor more diverse and subtle chromatic play than any other color. In red, artists found a means to construct pictorial space, distinguish areas and planes, create accents, produce effects of rhythm and movement, and highlight one figure or another.
Read it from The Paris Review
Within moments of entering the Tate’s exhibit Paul Nash’s paintings, my brisk walk slowed to a mesmerized linger as I encountered something new and strange, watching the artist make discoveries and adjustments, trying in different ways to fit his vision to dark experience and to blend his “Englishness” with international modernism—and not always succeeding. Even at its most urgent, Nash’s painting seems tremulous, poised between past and future, dream and reality.
Read the rest from The New York Review of Books
They ate apples when they ate and, after a while, they knew it all. Eve grasped the purpose of suffering (there is none), and Adam got his head around free will (a question of terminology). They understood why the new plants were green, and where breezes begin, and what happens when an irresistible force meets an immovable object. Adam saw spots; Eve heard pulses. He saw shapes; she heard tones. And, at a certain point, with no awareness of the incremental process that had led them there, they were fully cured of their blindness and deafness. Cured, too, of their marital felicity.
Fiction reads from The New Yorker
A solar technology invented years ago at Sandia National Laboratories has gotten a step closer to being on the market and that should make you pretty excited. The technology — miniature, flexible solar cells called “solar glitter” that can be integrated into objects of any shape or size — could change the way we approach solar energy generation.
Read the rest from TreeHugger
For 40 years, 13 reel-to-reel tapes containing live Bob Marley songs sat in a cardboard box in a London hotel basement. They might have landed in the trash if they hadn’t been discovered in a building clean-out by a friend of the London businessman Joe Gatt, who alerted his colleague Louis Hoover. Mr. Hoover recognized the value of the tapes immediately. “I was speechless,” he told The Guardian.
The analog tapes contain the original recordings of Mr. Marley’s concerts between 1974 and 1978, at European venues like the Lyceum Theater in London and the Pavillon de Paris.
Read the rest from The New York Times
As children, many of us have been fascinated by solar-powered calculators and watches. A few of us may even have received science kits with tiny motors attached to palm-sized solar cells. Generating electricity from light seems magical. Why can’t we run the world this way?
Read the rest at Ars Technica
We’ve known for several years now that the psychedelic compound psilocybin found in certain types of mushrooms can cause beneficial personality changes in an individual resulting in a more open personality, which is associated with imagination, art, feelings and general ‘broad-mindedness’. This study was conducted at the John Hopkins University of Medicine in Baltimore and found that even as little as one mushroom can cause these positive personality changes for up to a year. It is noteworthy to say that openness is also associated with larger successes in life, according to psychedelic researcher and scientist Dr. Robin Carhart Harris.
Robert H. Frank on why you should admit you didn’t create your success on your own, via Nautilus:
“I prefer just to look at how people naturally construct their life histories. We assemble narratives about ourselves routinely and the elements that go into those are the things that we can retrieve most comfortably from memory … When you’re riding a bike into a headwind you’re keenly aware of that. Every 100 yards you travel, you wish that wind would go away. You’re battling against it, it’s at the front of your mind. Then the course changes direction; you’ve got the wind at your back. What a great feeling that is for about twenty seconds, and then it’s completely out of your mind. You’re not even aware that the wind is at your back. You’re not having to battle any enemies in that sense and so it’s out of your mind. So when you think back to your career, what do you remember? You remember the headwinds you faced. You don’t remember all the tailwinds that were pushing you along. So there’s just these natural asymmetries that lead people to either ignore the role of luck entirely or overstate it to a considerable degree.”
Read the full interview via Nautilus
Alexandra Harris via The Guardian writes:
Hieronymus Bosch and Pieter Bruegel the Elder work like antagonistic muscles in the imagination, pulling with and against each other. Bosch is a painter of medieval hellfire whose fantastical creations exceed our nightmares. Bruegel, most memorably and wonderfully, shows us a recognisable world where children lick bowls clean, bagpipers draw breath and harvesters stretch out in the sun. Turning from metaphysics and from myth, he attends to the ploughman who labours his way across a field while Icarus falls into the sea far below. Bosch’s pale figures belong to the international gothic; Bruegel’s weighty peasants dance vigorously into modern times.
Yet Bruegel (born 10 years after the elder artist’s death) was greeted by his contemporaries as a “second Bosch”, and the connections between the two Netherlandish masters have fascinated viewers for centuries. In this revelatory new study, the US art historian Joseph Leo Koerner argues that they are – together – the originators of what would later be called “genre” painting.
Read the rest from The Guardian
“People used to say, ‘Don’t you make a mistake?’ But there’s no such thing as a mistake, only an opportunity to do something else, change, adapt it as you go along… I don’t like the second guess. I like taking the bull by the horns and going with it. Straight in there. Things happen, accidents happen, interesting things happen when you start drawing straight away into the white surface. One thing I love doing is slapping paint straight away on to a brand new piece of paper. There’s a great joy in that. Taking it from there. A lot of that goes on in the drawings. I’m not very fond of pencil.”
Read the full article from The Irish Times
Wes Siler of Outside Magazine writes:
“Throughout the New Yorker piece, there’s an air of secrecy. No one wants to tell you exactly where their hideout is or what they’ve got stored in it. Well, I’m happy to share my doomsday survival plan. I spend my time developing fitness, recreating outdoors, and making stuff with my hands. I know I can navigate through the wilderness, because that’s just a fun weekend for me and my dog. I know I can set a broken arm, because I’ve set mine. I know I can build a house, because that used to be my job. And I don’t have to wait for the apocalypse for that stuff to pay off, those experiences give me a good life right now. Please, feel free to steal my survival plan.”
Read the rest from Outside Online
John Arnold says that now, unless he trusts a researcher’s work, he no longer believes the findings of any scientific study until he or someone on the staff carefully vets the paper. “A new study shows …” are “the four most dangerous words,” Arnold wrote on Twitter.
Meet the former Enron trader and hedge fund founder who’s on a quest to expose bad science.
Read the rest from Wired