Showing posts with label Creative Process. Show all posts
Showing posts with label Creative Process. Show all posts

3.07.2013

The Self Illusion: How the Brain Constructs Who We Are


We know that the notions of stable character and fixed personality are a myth. And yet, our culture is wired for labels and checkboxes, eager to neatly file people away into categorical cabinets and thrown into furor over the slightest inkling of multiplicity. Take, for instance, Howard Hughes, at once a legendary aviator, movie mogul, tycoon, and socialite, and a reclusive billionaire housebound by his deathly phobia of dirt. He was a fearless aviation pioneer who set and broke countless records, yet he remained terrified of dying from germs. Hughes spent his final days unbathed, dressed in rags, with long sticky hair, curling nails, and the remnants of five hypodermic needles in his arms. He was worth $2 billion. It was this biography woven of paradoxes and dimensionality that compelled cognitive neuroscientist Bruce Hood to explore the building blocks of what we experience as the “self” in The Self Illusion: How the Social Brain Creates Identity. Adding to the ongoing conversation on what consciousness is, how it works, and how it measures up against Truth, Hood writes:

"Each morning, we wake up and experience a rich explosion of consciousness — the bright morning sunlight, the smell of roast coffee and, for some of us, the warmth of the person lying next to us in bed. As the slumber recedes into the night, we awake to become who we are. The morning haze of dreams and oblivion disperses and lifts as recognition and recall bubble up the content of our memories into our consciousness. For the briefest of moments we are not sure who we are and then suddenly ‘I,’ the one that is awake, awakens. We gather our thoughts so that the ‘I’ who is conscious becomes the ‘me’ — the person with a past. The memories of the previous day return. The plans for the immediate future reformulate. The realization that we have things to get on with remind us that it is a workday. We become a person whom we recognize.

The call of nature tells us it is time to visit the bathroom and en route we glance at the mirror. We take a moment to reflect. We look a little older, but we are still the same person who has looked in that same mirror every day since we moved in. We see our self in that mirror. This is who we are.

The daily experience of the self is so familiar, and yet the brain science shows that this sense of the self is an illusion. Psychologist Susan Blackmore makes the point that the word ‘illusion’ does not mean that it does not exist — rather, an illusion is not what it seems. We all certainly experience some form of self, but what we experience is a powerful depiction generated by our brains for our own benefit."

Hood goes on to trace how the self emerges in childhood and examines why this notion of the illusory self is among the hardest concepts to accept, contrasting the “ego theory” of the self, which holds that we are essential entities inside bodies, with Hume’s “bundle theory,” which constructs the self not as a single unified entity but as a bundle of sensations, perceptions, and thoughts lumped together. Neuroscience, Hood argues, only supports the latter. The Self Illusion tells the story of how that bundle forms and why it sticks together, revealing the brain’s own storytelling as the centripetal force of the self.

3.04.2013

100 Ideas that Changed Photography

British publisher Laurence King formerly brought us 100 Ideas That Changed Architecture. Now comes 100 Ideas That Changed Photography— an equally concise and intelligent chronicle of the most seminal developments in the history of today’s most prevalent visual art, with each of the ideas is accompanied by a short essay contextualizing its history and significance.

"Before it materialized as the camera and lens, photography was an idea. The desire to make a special kind of representation, originating in the object itself, is as old as humankind. It appears in the stencil paintings of hands in prehistoric art. In Western culture, the legend of the Corinthian woman who traced the shadow of her lover on a wall before he departed for war has evolved into an origin story for figurative art and, in the 1840s, for photography. Soon after the medium was disclosed to the world in 1839, the word ‘facsimile’ was adapted to describe the photograph’s unprecedented authenticity. Samuel F. B. Morse observed that a photograph could not be called a copy, but was a portion of nature itself. That notion, which persisted throughout the nineteenth century, found new life in the late twentieth-century language theory, in which the photograph was characterized as an imprint or transfer of the real, like a fingerprint."
 IDEA # 1: THE CAMERA OBSCURA
When Christian Gobrecht illustrated the workings of a camera obscura for Abraham Rees’s The Cyclopedia or Universal Dictionary of Arts, Sciences, and Literature (1805-22), he was careful to show how the device created an inverted image.
IDEA # 4: NEGATIVE/POSITIVE
The negative formed the basis of photography until the digital age. It is based on the reversal of dark and light tone.

 IDEA # 2: THE LATENT IMAGE
The latent image was coaxed from the daguerreotype plate by being exposed to mercury fumes in a so-called 'bath' like this one.
  IDEA # 9: THE LENS
Specially designed weights or impromptu inventions were attached to the shutter to create timed lens exposures.
IDEA # 12: CYANOTYPE
The cyanotype allowed builders and engineers to create durable and detailed drawings.
 IDEA # 12: CYANOTYPE
Anna Atkins was one of the first scientists to use the cyanotype to record delicate specimens, as in Himanthalia lorea, from her 1843 book on algae.
 IDEA # 13: COLLODION
Photographers who used the collodion process had to process their glass plates before and after exposure. They brought a portable darkroom and sometimes employed assistants to help.
 IDEA # 27: CARTES DE VISITE
Disdéri’s multiple portraits of a ballet dancer is entitled Petipa (c. 1862), for the renowned French dance master and choreographer. Performers and public figures often had cartes de visite made in great numbers, which they either gave away or sold.
 IDEA # 46: PROJECTION
In 1925, the French children’s magazine Le Petit Inventeur captured the wonder of projected images.
IDEA # 56: THE PEOPLE'S ART
For the cover of a 1929 issue of the German publication The Worker Photographer, Ernst Thormann chose a close-up of a Roma child.


 IDEA # 56: THE PEOPLE'S ART
In this anonymous early Kodak snapshot from about 1888, the maker’s shadow is clearly visible on the lower left side.
IDEA # 77: THE SELF-PORTRAIT
In her 1896 Self-Portrait (as New Woman) successful Washington, D.C. photographer and business owner, Frances Benjamin Johnston, poses cross-legged, as a man might do, while holding a cigarette and a beer stein.

100 Ideas that Changed Architecture

“Art is a discovery and development of elementary principles of nature into beautiful forms suitable for human use,” - Frank Lloyd Wright

The convergence of practicality and beauty is perhaps the central defining characteristic of architecture itself, and of every meaningful development that has pushed the discipline forward over the millennia. In 100 Ideas that Changed Architecture, Cardiff University architecture professor Richard Weston and British publisher Laurence King — trace the most influential cornerstones of architectural ideology and practice.

Weston writes in the Introduction:

"Surprisingly few of the ideas are philosophical or theoretical in character; indeed, some readers may wonder whether some of them — like Fireplace with which the book begins, and Wall and Brick which quickly follow — are ideas at all….

‘Ideas’ that really change the practical art of architecture are not just the relatively few grand philosophical bodies of thought that shape civilizations, but frequently altogether more humble ideas like a brick or reinforcing concrete with rods of steel. Everything that humans make begins, ultimately, with an idea: not, perhaps, those we think of as patentable — the kind cartoonists like to represent as a bulb flashing in a scientist’s head — but as a guiding concept that, for example, tells a stonemason how to shape and place stone on stone to create an arch which, as if by magic, makes it possible to defy gravity and make an opening in a wall. Many such ideas must have occurred independently to different people in different places and the moment when the metaphorical bulb first flashed will never be known — but this does not diminish their importance."
 Idea # 4: COLUMN AND BEAM
Steel frames, consisting of vast networks of columns and beams, have been the preferred structure for tall buildings in the U.S. since the late nineteenth century.
 Idea # 5: DOOR
'Places made for an occasion,' from Gaudi’s Casa Milà in Barcelona and Michel de Klerk’s housing in Amsterdam to medieval doors in San Gimignano, the design of openings and doors offers rich, expressive possibilities.
Idea # 11: VAULT
Right: Lincoln Cathedral is celebrated for its experimental vaults, such as that seen here in St. Hugh’s Choir –known as the “Crazy Vault” on account of its eccentric, asymmetrical version of the classic six-part tierceron vault developed in France.
Idea # 15: ATRIUM
Right: Glass-covered atria—seen here on the grand scale at Rafael Viñoly’s Tokyo International Forum—offer numerous environmental and energy-saving advantages and have become common in offices, hotels, and many other buildings since the 1980s.
Idea # 19: PROPORTION
Top left: Le Corbusier’s lifelong fascination with proportion as a key to architectural beauty culminated in the development of a proportioning system based on the so-called Golden Raio, published in his book Le Modulor in 1948.
Idea # 22: IDEAL
In plan and section, Classical designs such as Sir Christopher Wren’s for St. Paul’s Cathedral, were controlled by 'ideal' geometric forms such as circles and squares that were thought to bring visual harmony to the composition.
Idea # 25: SYMMETRY
Left: As well as sharing the use of axial symmetry in their spatial organization, the decoration of Islamic buildings abounds in complex forms of symmetry rarely encountered in Western architecture.
 Idea # 28: ARCHITECT
Left: More than any of his contemporaries, Le Corbusier—seen here with his ever-present black-rimmed glasses—helped to define the modern image of the architect as an inspired artist-designer.
 Idea # 30: PERSPECTIVE PROJECTION
Right: This beautiful watercolor rendering of the project for Otto Wagner’s own house in Vienna was published in 1890 in the first of a four-part edition of his work. As can be seen from the construction lines on the plan, the center of projection for the perspective lies just off the street.
 Idea # 35: CORRIDOR
Ubiquitous in complex institutional buildings such as many offices, schools, and hospitals, the corridor is a surprisingly recent invention, dating back only to the eighteenth century.
 Idea # 49: THE ELEVATOR
Top right: The 1930s offered no more compelling illustration of the intensity of development made possible by the elevator than the New York skyline; the 102-story Empire State Building, seen in the distance, remained the world’s tallest until the 1970s.
 Idea # 63: ORGANIC ARCHITECTURE
Right: The Spanish architect-engineer Santiago Calatrava frequently claims inspiration from nature, as seen here in the Quadracci Pavilion, a major addition to the Milwaukee Art Museum completed in 2001. The fully glazed reception hall is surmounted by an adjustable, winglike sunscreen (above) while the galleria (right) is said to have been inspired by a wave, and to resemble the bleached bones of a shark.
 Idea # 70: AXONOMETRIC PROJECTION
Right: Theo van Doesburg, the founder of the Dutch De Stijl movement, employed abstract colored planes and axonometric projection to evoke his vision of an ideal spiritual world, floating free of gravity.
 Idea # 78: MORPHOLOGY
Right: During the 1950s the Finnish architect Reima Pietilä (1923-93) undertook an imaginative series of morphological studies of natural phenomena: supremely elegant, the resulting drawings and models exerted a decisive influence on his later architectural work.
Idea # 97: BIGNESS
In 1994, the Dutch architect Rem Koolhaas, founder and principal of the Office for Metropolitan Architecture (OMA), wrote that 'In a landscape of disarray, disassembly, dissociation, disclamation, the attraction of Bigness is its potential to reconstruct the Whole, resurrect the Real, reinvent the collective, reclaim maximum possibility.'

2.20.2013

Sasha Grey: Neü Sex

Neü Sex is Sasha Grey's foray into documenting the porn industry.  Made in collaboration with VICE and published by powerHouse, Neü Sex features intimate imagery that provides us with a look into Grey's private life. Sasha's boyfriend and professional photographer Ian Cinnamon also contributed to the book, photographing Sasha when she was physically unable to do it herself (for whatever reason…). Above all things, Neü Sex is anything but boring, and intriguing at the very least. 








Here's Sasha talking about her creative detour that took her to develop Neü Sex 

12.18.2012

Julian Schnabel


Such an egoistic bastard. But whatever, he's still cool. I've got mad respect for anyone who could bring a film like Diving Bell and the Butterfly to life.

12.06.2012

TED Talks: Susan Cain - The Power of Introverts

I've always considered myself somewhat of an introvert, not too loud, I've never given myself as much credit as a really should have and I've always thrived on being somewhat of a loner - often choosing the enjoyment of my own company over loud crowded areas - in fact, I've always felt more lonely being amongst a room full of 'wrong' people than on my own. This goes the same for my work, I've always been able to work with others and contribute to a group, but I've always really enjoyed going away and working on my own - for some reason, I tap into some visceral thought inertia of "flow" where my brain neurons connect and interplay in such a way that it never quite has when I'm with others, and whilst I do enjoy the company of theirs and certainly enjoy the ideas that can only be formed through discussion between people, my creativity has only ever been sparked in moments of my own solitude. Perhaps that's why I enjoy work like design or photography. I don't know how I feel about communal work places, they almost feel forced, whilst I feel like dialogue is only ever effective once others have done their homework, which can only ever be done properly in private. But like Susan Caine says, I think theres an element of introversion and conversely and element of extroversion in all of us. None of us are wholly white nor wholly black swans. I've never been overtly socially shy, but I'm not exactly the kind who can "work a crowd". I heard that extroverts tend to gain energy from introverts and introverts tend to toil ifrom their own pool of energy, so maybe theres something under that veneer of softness that introverts are hiding. There's hope for us introverts afterall! 

12.05.2012

Documentary: HBO's Masterclass

Masterclass is a series produced by HBO, a couple of years old now, but none the less interesting, where creatives fresh from high school and art school undergrads intern under a "master" for a couple of days. Each master passing on their creative process and sharing a bit of themselves through their discipline. The inter-relatedness of art as to our world really struck a chord. These episodes really reminded me just how much I miss the creative process and just how much I want to pursue a career in it, whether it be my hobby-turned-freelance job, or my fulltime job, only time will tell. I've featured my favourite episodes from the series below:
Frank Gehry
Olafur Eliasson 
Julian Schnabel

11.23.2012

TED Talks: On Creativity and Happiness...

"Where Does Creativity Hide?"
Amy Tan, the author of The Joy Luck Club

"A Different Way To Think About Creative Genius"
Elizabeth Gilbert, the author of Eat, Pray, Love

"The Habits of Happiness"
French buddhist monk Matthieu Riccard