Below is the abstract for the D. K. C. Just paper:
Wassily Kandinsky is widely regarded as one of the most prominent examples of a synaesthetic artist. However, in the scientific literature there is disagreement on the genuineness of his synaesthesia. This paper investigates whether Kandinsky had inborn synaesthesia, while acknowledging that there are also types of induced synaesthesia which he may have cultivated. As these two types of synaesthesia are seen to work additively in some synaesthetes and not to be mutually exclusive, this is not seen as an argument against the view that he was a true inborn synaesthete. Whether Kandinsky was a synaesthete is examined through a detailed study of his primary writings (e.g., On the Spiritual in Art, Point and Line to Plane, and Reminiscences), in light of the modern diagnostic criteria. The experiences described in those writings indicate that his synaesthetic perceptions were genuine and inborn and not just a theoretical endeavour. Given the genetic dimension of synaesthesia, this view is further supported by the fact that Kandinsky’s uncle Victor Kandinsky also described having synaesthetic experiences.
Continue reading “Was Kandinsky a Synaesthete?”
On Display: 2020 Small Works Exhibition
Homage to Paul Klee (Blue Night) by Amy Ione
Percept: Space Study, #3 by Amy Ione, painting
Dates: March 1 through March 30, 2020
Opening: March 7, 1-4pm, 401 Main Street, Edmonds, WA 98020
Edmonds Art Walk, March 19, 5-8pm
Open AIR 2020 Artist-in-Residence Opportunity Spotlight: Summer and Fall sessions available at the Flathead Lake Biological Station (FLBS).
Stay in a quaint cabin. Learn about the largest freshwater lake west of the Mississippi with access to researchers, undergrad and grad students, interns, taxonomic collections, analytical Lab, sensor lab, tool shop and more!
Flathead Lake Biological Station, University of Montana is one of the oldest active biological field research stations in the United States. It was established near Bigfork in 1899 by its first director, Dr. Morton J. Elrod, UM Distinguished Professor of Biology. It was moved to Yellow Bay in 1908.
Applications Due: March 1st.
Apply for Rising: Crisis in Climate Residencies by April 13
A Studio in the Woods is now accepting applications for Rising: Climate in Crisis Residencies. The call is open to artists of all disciplines who have demonstrated an established dialogue with environmental and culturally related issues and a commitment to seeking and plumbing new depths. Residencies are 6 weeks, will take place between September 2020 and May 2021, and include a $2500 stipend and $2000 materials budget.
Proposals are due by April 13th and residencies will be awarded by June 12th, 2020. Direct questions to Cammie Hill-Prewitt at firstname.lastname@example.org.
Continue reading “Call for artists! Rising: Climate in Crisis Residencies at A Studio in the Woods”
Mutation Study #1 (left) is on display in the Berkeley Art Center (BAC) Annual Members Exhibition, Part 1,
January 11–25, 2020
1275 Walnut Street
Berkeley, CA 94709
January 11, 6pm–8pm
Jonathan Miller (1934-2019) was an English theatre and opera director, actor, author, television presenter, humorist and medical doctor. After training in medicine and specializing in neurology in the late 1950s, he came to prominence in the early 1960s in the comedy revue Beyond the Fringe with Peter Cook, Dudley Moore and Alan Bennett. He died 27 November 2019 at the age of 85. Obituary here.
At the age of 12, at the St. Paul’s School, his lifelong friendship with Dr. Oliver Sacks began. Indeed, the neurologist’s journey to international fame began when Mr. Miller showed the original manuscript of Dr. Sacks’s book “Awakenings” to a London publisher.
Another noteworthy interdisciplinary project was in 1983 with “States of Mind.” He interviewed the art historian Ernst Gombrich, the philosopher and scientist Daniel Dennett and others about consciousness and the brain.
In 1978 he presented “The Body in Question,” a 13-part BBC series about human biology during which he performed an autopsy on a dead vagrant. The book from that series, The Body in Question, is available here.
Image-making, research and visual technologies have shaped each other over the past century and a half, argues Geoffrey Belknap, marking Nature’s anniversary. here
From the essay:
“Over the years, Nature adapted through its succession of editors, with, in recent decades, ‘sister’ journals carving out their own space in increasingly specialized scientific disciplines. Images remained central throughout. For instance, in 1896, Nature published physicist Wilhelm Röntgen’s first X-ray plates1; in the 1920s, maps to debate Alfred Wegener’s theory of continental drift2; and in 1968, the graphs that described astrophysicist Jocelyn Bell Burnell’s discovery of pulsars.”
Reviewed by Amy Ione
As I began Phillip Thurtle’s well-researched Biology in the Grid: Graphic Design and the Envisioning of Life, I wondered how his “envisioning of life” would intersect with the abundant evidence that a complex array of grids have served as a foundational element in art, architecture, and design production throughout history. A few examples that quickly come to mind include those used to construct perfectly proportioned Egyptian and Aztec temples, Islamic and Buddhist art, Chuck Close’s stylized portraits, and the layout of medieval illuminated manuscripts. Rosalind Krauss’ 1978 statement that the surfacing of the grid in early twentieth century modernist art was an announcement of “modern art’s will to silence, its hostility to literature, to narrative, to discourse”  is also a part of the grid litany, although one that gives a negative cast to how we use grids to engage with objects in our world.
As it turns out, Biology in the Grid moves along a markedly different track. Despite his integration of graphic design, the entertainment industry, advertising, and cultural theory, the book is largely orthogonal to the long art and design trajectory. Thurtle sees grids as a framework within a biopolitical circumstance and makes the point that “living in the grid’ does not equalize us because all lives are not treated similarly despite the seeming uniformity of the form. In his words: Continue reading “Book Review: Biology in the Grid: Graphic Design and the Envisioning of Life by Phillip Thurtle”