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”
Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal
In addition to his better known artistic, scientific and engineering talents, Leonardo da Vinci has an extensive reputation as a cartographer, drawing maps for a wide range of hydro-engineering projects for the rulers of Florence, Milan, Arezzo and the Vatican, amongst others. However, he is not generally acknowledged as authoring a world map (or mappamundi) spanning the globe, which was the domain of a few specialized cartographers of the era. Nevertheless, there is a world map among his papers in the Royal Library, Windsor, which has the correct overall configuration of the continents, including an ocean at the north pole and a continent at the south pole. Moreover, it has a unique cartographic projection onto eight spherical-geometry triangles that provide close to isometric projection throughout the globe.
This quincentennial anniversary year of his death in 1519 is an appropriate moment for a reappraisal of this contribution to global cartography. Although the authenticity of this world map has been questioned, there is an obscure page of his notebooks in the Codex Atlanticus containing a sketch of this precise form of global projection, tying him securely to its genesis. Moreover, the same notebook page contains sketches of eight other global projections known at that time (early C16th), from the Roman Ptolomaic conic section projection to Rossellli’s (1508) oval planispheric projection. This paper reassesses the dating of Da Vinci’s unique mappamundi to suggest that it predates that of Waldseemüller (1507), and may thus have been the first map to name both America and Florida.
Tyler, CW. 2019. “Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal,” Calafia Journal, 2:7-12. PDF
Earlier work by one of us examined a historical corpus of portraits and found that artists often paint the subject such that one eye is centred horizontally. If due to psychological mechanisms constraining artistic composition, this eye-centring bias should be detectable also in portraits by non-professionals. However, this finding has been questioned both on theoretical and empirical grounds. Here we tested eye-centring in a larger (N ~ = 4000) and more representative set of selfies spontaneously posted on Instagram from six world cities. In contrast with previous selfie results, the distribution of the most-centred eye position peaked almost exactly at the horizontal centre of the image and was statistically different from predictions based on realistic Monte-Carlo predictions. In addition, we observed a small but statistically reliable pseudoneglect effect as well as a preference for centring the left-eye. An eye-centring tendency appears to exist in self-portraits by non-artists.
Authors: Nicola BrunoID1*, Marco Bertamini2*, Christopher W. Tyler
PLoS ONE14(7): e0218663.
1 DiMeC, Università di Parma, Parma, Italy,
2 Department of Psychological Science, University of Liverpool, Liverpool, United Kingdom,
3 Division of Optometry and Vision Sciences, School of Health Sciences, City University of London, London, United Kingdom
* M.Bertamini@liverpool.ac.uk (MB); email@example.com (NB)
(Also see MedicalResearch.com interview here and articles)