Tuesday, 18 September 2018

The Shed Project (2018)


Lee John Phillips is cataloguing the entire contents of his late grandfather's tool shed. He estimates that the project will take around 5 years and will involve him hand drawing in excess of 100,000 separate items (HERE).

Image Copyright Lee John Phillips.

Monday, 17 September 2018

Study for the Marriage of the Virgin (1566)



By Luca Cambiaso (1527-1585). Pen and brown ink, with brown wash, over black chalk, on paper. From the Morgan Library (HERE). 

Sunday, 16 September 2018

Look at your Fish (1999)


From an interview in The Paris Review HERE.

INTERVIEWER

Would you tell us about the motto tacked over your desk? 

DAVID MCCULLOUGH

It says, “Look at your fish.” It’s the test that Louis Agassiz, the nineteenth-century Harvard naturalist, gave every new student. He would take an odorous old fish out of a jar, set it in a tin pan in front of the student and say, Look at your fish. Then Agassiz would leave. When he came back, he would ask the student what he’d seen. Not very much, they would most often say, and Agassiz would say it again: Look at your fish. This could go on for days. The student would be encouraged to draw the fish but could use no tools for the examination, just hands and eyes. Samuel Scudder, who later became a famous entomologist and expert on grasshoppers, left us the best account of the “ordeal with the fish.” After several days, he still could not see whatever it was Agassiz wanted him to see. But, he said, I see how little I saw before. Then Scudder had a brainstorm and he announced it to Agassiz the next morning: Paired organs, the same on both sides. Of course! Of course! Agassiz said, very pleased. So Scudder naturally asked what he should do next, and Agassiz said, Look at your fish.

Saturday, 15 September 2018

Cybernetic Serendipity (1968)




From the press release for the Cybernetic Serendipity exhibition, ICA London, 1968. 


Cybernetics - derives from the Greek «kybernetes» meaning «steersman»; our word «governor» comes from the Latin version of the same word. The term cybernetics was first used by Norbert Wiener around 1948. In 1948 his book «Cybernetics» was subtitled «communication and control in animal and machine.» The term today refers to systems of communication and control in complex electronic devices like computers, which have very definite similarities with the processes of communication and control in the human nervous system. A cybernetic device responds to stimulus from outside and in turn affects external environment, like a thermostat which responds to the coldness of a room by switching on the heating and thereby altering the temperature. This process is called feedback. 

Exhibits in the show are either produced with a cybernetic device (computer) or are cybernetic devices in themselves. They react to something in the environment, either human or machine, and in response produce either sound, light or movement. 

Serendipity – was coined by Horace Walpole in 1754. There was a legend about three princes of Serendipity (old name for Ceylon) who used to travel throughout the world and whatever was their aim or whatever they looked for, they always found something very much better. Walpole used the term serendipity to describe the faculty of making happy chance discoveries. Through the use of cybernetic devices to make graphics, film and poems, as well as other randomising machines which interact with the spectator, many happy discoveries were made. Hence the title of this show.

More HERE and HERE.

The New York Times reviewer in 1968 noted that Cybernetic Serendipity, “... is an interim report on investigations in progress”, and that, “The computer is a tool to extend our intelligence.” 




Monday, 10 September 2018

Basic Ideas of Scientific Sampling (1976)



This is a short book by Alan Stuart that describes very simply the concepts of random sampling needed for statistical analysis with unbiased estimators (such as the sample mean).

It defines the Central Paradox of Sampling:

Once a sample has been obtained it is impossible to tell by inspection of the sample whether it has been obtained by a simple random sampling mechanism or not.

Design for an Audience (2018)



Here is a masterclass in designing visual information displays for the results of serious scientific studies - by Jonathan Corum of the New York Times. Above a set of the headings that Corum talks about. 

The Rougeux - Syme - Werner Nomenclature of Colours (2018)



Here is a superb re-animation of the Werner/Syme colour classification classic from 1821 - by Nicolas Rougeux (who calls himself a Designer, Data Geek and Fractal Nut). 

Sunday, 2 September 2018

Data! Data! Data! (1892)


An entertaining piece by D.L. Dusenbury in the Times Literary Supplement on the data obsessed (but sadly fictional) detective Sherlock Holmes (HERE).

Friday, 31 August 2018

Werner's nomenclature of colours : with additions, arranged so as to render it highly useful to the arts and sciences, particularly zoology, botany, chemistry, mineralogy, and morbid anatomy (1821)



This wonderful volume, Werner's Nomenclature of Colours, was first published in 1814. It is a taxonomic guide to the colours of the natural world based on the mineralogist Abraham Gottlob Werner's standardised colour scheme,  adapted and illustrated by the Scottish painter Patrick Syme.

The volume (HERE) has just been re-published in a facsimile. 


Thursday, 23 August 2018

Maps of the Earth (1901)



From the excellent site of The History of Chinese Science and Culture Foundation, (HERE) is a series of images from a late Qing dynasty Atlas - MAPS OF THE EARTH by Wu Run-De, Ding Wei Year. Above is a map of Jiangsu province. 

Sunday, 19 August 2018

Time for science to be about truth rather than careers (2013)


Oh Dear. 

I have been a scientist of sorts for thirty years. I believe that the American engineer Henry Petroski had it right when he said: Science is about understanding the origins, nature, and behaviour of the universe and all it contains. This of course is a quest for truth - for a deep understanding of objectively what is what. But the prosaic reality is that the basis of this grand endeavour is nothing more than a scrupulous attention to detail and keeping oneself honest - what non-fiction writers call fact-checking.  

As this superb editorial by Richard Smith in the British Medical Journal - describing a talk by John Ioanaddis - points out, the empirical evidence is that "science" in many fields of bio-medical research is not about truth:  

Why, asked Ioannidis, at the end of his talk are we doing science? Contentment with a system that encourages the publication of studies that are mostly misleading suggests that it’s about careers, grants, publications, and salaries. If it’s about a search for “truth” then we need more collaboration, less publishing of small and biased studies, and a heavy emphasis on reproducibility.

Monday, 13 August 2018

Eliminative Induction (2012)



From a textbook by Arial Caticha, Entropic Inference and the Foundations of Physics (HERE).


The framework for inference will be constructed by a process of eliminative induction. The objective is to design the appropriate tools, which in our case, means designing the theory of probability and entropy. The different ways in which probabilities and entropies are defined and handled will lead to different inference schemes and one can imagine a vast variety of possibilities. To select one we must first have a clear idea of the function that those tools are supposed to perform, that is, we must specify design criteria or design specifications that the desired inference framework must obey. Finally, in the eliminative part of the process one proceeds to systematically rule out all those inference schemes that fail to comply with the design criteria — that is, that fail to perform as
desired.

There is no implication that an inference framework designed in this way is in any way “true”, or that it succeeds because it achieves some special intimate agreement with reality. Instead, the claim is pragmatic: the method succeeds to the extent that the inference framework works as designed and its performance will be deemed satisfactory as long as it leads to scientific models that are empirically adequate. Whatever design criteria are chosen, they are meant to be only provisional — just like everything else in science, there is no reason to consider them immune from further change and improvement.

The pros and cons of eliminative induction have been the subject of considerable philosophical research. On the negative side, eliminative induction, like any other form of induction, is not guaranteed to work. On the positive side, eliminative induction adds an interesting twist to Popper’s scientific methodology. According to Popper scientific theories can never be proved right, they can only be proved false; a theory is corroborated only to the extent that all attempts at falsifying it have failed. Eliminative induction is fully compatible with Popper’s notions but the point of view is just the opposite. Instead of focusing on failure to falsify one focuses on success: it is the successful falsification of all rival theories that corroborates the surviving one. The advantage is that one acquires a more explicit understanding of why competing theories are eliminated.

Monday, 6 August 2018

Les Poissons (1876)



A Crucian carp (Carassius carassius) from Les Poissons : synonymie - description - mœurs - frai - pêche -iconographie, des espèces composant plus particulièrement la faune française

By H. Gervais, and R. Boulart. 

Wednesday, 1 August 2018

Keswick Codlin (1876)




A Keswick Codlin, from The Herefordshire pomona, containing coloured figures and descriptions of the most esteemed kinds of apples and pears.

By
Bull, Edith G. 
Bull, Henry Graves, 1828--188 
Ellis, Alice B. 
Hogg, Robert, 1818-1897 
Jakeman and Carver. 

Woolhope Naturalists' Field Club. 

HERE

Coloured figures of English fungi or mushrooms (1797)




Coloured figures of English fungi or mushrooms. 
James Sowerby (1757-1822)

Publication info London,Printed by J. Davis,1797-[1809]
BHL Collections:
New York Botanical Garden

(HERE)

Saturday, 21 July 2018

W. G. Sebald, Humorist (2017)


A great piece about the work of W.G. Sebald in the New Yorker by James Wood (HERE).


Friday, 20 July 2018

Your whole being rests lightly on your float, but not drowsily (1994)



Below is a wonderful description by the poet Ted Hughes, of the meditative state that you can slip into when float fishing.

Settling the mind is a valuable thing to be able to do – but something you are never taught in school and not many people do it naturally. I am not very good at it, but I did acquire some skill in it. Not in school, but while I was fishing. I fished in still water, in those days, with a float. As you know, all such a fisherman does is stare at his float for hours on end. I have spent hundreds and hundreds of hours staring at a float – a dot of red or yellow the size of a lentil, ten yards away. Those of you who have never done it, might think it a very drowsy past time. It is anything but that.

All the little nagging impulses, that are normally distracting to your mind dissolve. They have to dissolve if you are to go on fishing. If they do not, then you cannot settle down: you get bored and pack up in a bad temper. But once they have dissolved, you enter one of the orders of bliss.

Your whole being rests lightly on your float, but not drowsily: very alert, so that the least twitch of the float arrives like an electric shock. And you are not only watching the float. You are aware in a horizonless and slightly mesmerized way, like listening to the double bass in orchestral music, of the fish below there in the dark. At every moment your imagination is alarming itself with the size of the rings slowly leaving the weeds and approaching your bait. Or with the world of beauties down there, suspended in total ignorance of you. And the whole purpose of this concentrated excitement, in this arena of apprehension and unforeseeable events, is to bring up some lovely solid thing, like living metal, from a world were nothing exists but those inevitable facts which raise life out of nothing and return it to nothing.


Winter Pollen, Occasional Prose. Faber (1994). 

Image from the oldest surviving fishing manual in English, Dame Juliana Berners Treatyse of Fysshynge with an Angle, published by Wynkyn de Worde in Westminster in 1496



Tuesday, 17 July 2018

Patience (After Sebald) - (2012)


Here is the full version of Grant Gee's wonderfully haunting documentary film Patience (After Sebald), built around the ideas and places which run through W.G. Sebald's book The Rings of Saturn. 

Monday, 16 July 2018

Experimental Wood Type Prints of Jack Stauffacher


From the excellent Letterform Archive (HERE). Wood Type Prints by Jack Stauffacher.

Sunday, 15 July 2018

A Life in Design



W.A. Dwiggins, A Life in Design. From HERE.

Thursday, 12 July 2018

Rings of Saturn

Below an amazing thematic map of W.G. Sebald's Rings of Saturn - from HERE.



Sunday, 1 July 2018

The symmetrical foundation of Measure, Probability and Quantum theories (2017)



A short, but foundational paper by John Skilling and Kevin Knuth (HERE). The abstract reads:

Quantification starts with sum and product rules that express combination and partition. These rules rest on elementary symmetries that have wide applicability, which explains why arithmetical adding up and splitting into proportions are ubiquitous. Specifically, measure theory formalises addition, and probability theory formalises inference in terms of proportions. 

Quantum theory rests on the same simple symmetries, but is formalised in two dimensions, not just one, in order to track an object through its binary interactions with other objects. The symmetries still require sum and product rules (here known as the Feynman rules), but they apply to complex numbers instead of real scalars, with observable probabilitiesbeing modulus-squared (known as the Born rule). The standard quantum formalism follows. There is no mystery or weirdness, just ordinary probabilistic inference.

Thomas Bayes and the crisis in science (2018)


It is improbable, but nonetheless true, that one of the most entertaining and informed articles I have yet read about how the avoidance of Bayesian methods has contributed to the much discussed "crisis in science", has appeared in the Times Literary Supplement. The article is by David Papineau and it is HERE.  

Saturday, 23 June 2018

The Ends of the World (2017)



Above, an incredible descriptive re-imagining of the enormous asteroid that ended the dominance of  the dinosaurs, from Peter Brannen's book The Ends of the World (HERE).

Friday, 22 June 2018

Letters to A Young Poet (1903)



Leave to your opinions their own quiet undisturbed development, which, like all progress, must come from deep within and cannot be pressed or hurried by anything. Everything is gestation and then bringing forth. To let each impression and each germ of a feeling come to completion wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one’s own intelligence, and await with deep humility and patience the birth-hour of a new clarity: that alone is living the artist’s life: in understanding as in creating.

By Rainer Maria Rilke


Coloring Sudokus (2018)



From the great Fronkonstin blog of experiments in the R language. By Antonio Sánchez Chinchón (HERE)

Saturday, 16 June 2018

The Seven Deadly Sins of AI Predictions (2017)


I hear a lot about Artificial Intelligence (AI) these days. Much of it is ill informed nonsense. This superb piece by Rodney Brooks (HERE) is required reading for anyone who really wants to get a realistic grasp on what AI may or may not do, anytime soon.

Are We All Joyceans Here, Then? (2018)


James Joyce's vast, and almost impossible to imagine reading, epic Ulysses, has been read by some people. This short piece (HERE) in the Paris Review by Frankie Thomas is her story of how she read it in a seminar group at City College, New York.    

Ulysses itself begins:

Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed. A yellow dressinggown, ungirdled, was sustained gently behind him on the mild morning air. He held the bowl aloft and intoned:

Introibo ad altare Dei.

Halted, he peered down the dark winding stairs and called out coarsely:

—Come up, Kinch! Come up, you fearful jesuit!

Friday, 15 June 2018

The Whole Art of Storytelling (2014)


Michael Dirda is a Pultizer prize winningAmerican critic. His writing is superb - he describes it as often achieving a Shaker like simplicity - which is about right. On Conan Doyle Or, The Whole Art of Storytelling is a slim, very well written and made, book by Dirda on his love of the books of Conan Doyle. (HERE).  





How to spot a perfect fake (2018)


A very interesting piece in the Guardian by Samanth Subramanian about the current state-of-the-art in Old Master forgery and forensics. (HERE)   

Monday, 11 June 2018

The Great Tidepool: the story of Ed Ricketts' scientific system (2014)


The Great Tidepool: the story of Ed Ricketts' scientific systemFrom a film of the same name by Steven and Mary Albert, here are a series of annotated diagrams that the filmmakers brought together from an analysis of Ed Ricketts' approach to ecological science. (HERE)

Wednesday, 6 June 2018

The Last Launch (2015)




Encounters with Goodness.
Yi-Fu Tuan


I was in Panama in 1959 studying the coastline. I needed to go to a sandbar separated from the mainland by a stretch of mangrove swamp. I waited for the tide to withdraw, so I could walk across. Hours later, having competed my survey of the sandbar, I packed my notebooks, camera, and compass for the return trip. 

To my surprise, I was confronted by an unfamiliar landscape. A rising tide had covered the swamp in one-to-two feet of water, and I would have to wade through the water and mud to get back to solid land. 

As I reluctantly prepared myself to take on the tide, a young fisherman approached, pushing an old bike. On its handlebar was a row of fish, which he no doubt intended to sell on the mainland. He spoke a language I didn't understand. His gestures, however, made it clear that he wanted me to sit on his bike so that he could push me through the swamp. 

He had to push hard. I could see his strained muscles and smell his sweat. As soon as we reached dry land, I got off the bike and dug into my wallet for a few dollars to give him. I looked through the sheaf of bills to find the right amount. When I turned around, he was nowhere to be seen. I have never forgotten his kindness. He was doing good. 



From The Last Launch By Yi-Fu Tuan (HERE).

Sunday, 3 June 2018

Étienne Léopold Trouvelot (1827-1895)



A piece on the French astronomical artist Étienne Léopold Trouvelot  (HERE)

Saturday, 2 June 2018

...prose written with the kind of attention you expect from a fiction writer or poet (2014)



In the simplest sense, what one learns by writing poetry is to pay attention to every word and to the cadence of every sentence - the shape of things. A paragraph is made not unlike the way you make a stanza of a poem. Literary nonfiction is prose written with the kind of attention you expect from a fiction  writer or poet.

From Radcliffe Magazine 2014 profile of Lewis Hyde (HERE).

Friday, 1 June 2018

The Gift


The Stones of Venice (1890





By John Ruskin. 

Image from HERE.

Thursday, 31 May 2018

Sweet Cork of Thee (1951)


On the anniversary of Robert Gibbings death this year a piece in the Irish Times by Alannah Hopkin:
People often forget that Gibbings was Irish. Brian Lalor, author of Ink-stained Hands, the definitive history of Irish print-making, was challenged by an English academic at a conference in Dublin in 2007, who refused to believe that Gibbings was Irish, as he had produced archetypal English landscapes.

More images HERE.

Growth and Interaction in the World Economy: The Roots of Modernity (2002)


Angus Maddison (1926-2010) was a British economist who specialised in systematically collating detailed quantitative data on long term global economic history. His magnum opus is Contours of the World Economy, a sweeping 450 page summary of the growth and dynamics of the world economy from 1 AD to 2030, published in 2007 by Oxford University Press. In 2001 he had estimated that the world's output in the year 1 AD was $105.4 billion in 1990 prices.

A shorter, but similar and equally rigorous essay, by Maddison called Growth and Interaction in the World Economy: The Roots of Modernity is available HERE. The image above shows his Table 1. 


  

Wednesday, 30 May 2018

The Orange Trapper (2013)


A superb piece by John McPhee HERE about golf, golf balls and the Orange Trapper:
What came in the mail was only twenty-one inches long, with an orange head, a black grip, and a shaft that consisted of ten concentric stainless tubes with a maximum diameter of five-eighths of an inch. You could conduct an orchestra with it. It was beautiful. The orange head was a band of industrial-strength plastic, as obovate as a pear and slightly wider than a golf ball. A depression in its inside top was there to secure one side of a ball, but the genius of the device was in a working part, a bevelled “flipper” that came up through the throat and would waggle into place on the other side of the ball. The Orange Trapper worked two ways. It had no upside or downside. You could surround a golf ball with either side, then lift it up as if you were playing lacrosse with no strings. You could turn the head over—a hundred and eighty degrees—and the ball would generally stay put. But flip the thing over once more and the ball would always roll free. Made by JTD Enterprises, it could have been designed by Apple.

Tuesday, 29 May 2018

The Dog and the Frisbee (2012)


An interesting paper by a couple of economists trying to understand how financial regulators can apply simple heuristics to avoid another financial crisis. Gerd Gigerenzer's fingerprints are all over it. 

HERE

Saturday, 26 May 2018

...prisoner to a seemingly endless supply of hype




HERE is a great article by Dr Micheal Moyner,  an anesthesiologist and physiologist at the Mayo Clinic in the US. Ostensibly about the collapse of Theranos, it is a damning indictment of how desperately hyped the world of biomedical innovation is. 

Wednesday, 23 May 2018

All the impressive achievements of deep learning amount to just curve fitting.



A piece on the AI expert Judea Pearl HERE in Quanta Magazine.

Data science is science’s second chance to get causal inference right (2018)



Data science is science’s second chance to get causal inference right. A classification of data science tasks

Miguel A. Hernán, John Hsu, & Brian Healy

Abstract

Causal inference from observational data is the goal of many health and social scientists. However, academic statistics has often frowned upon data analyses with a causal objective. The advent of data science provides a historical opportunity to redefine data analysis in such a way that it naturally accommodates causal inference from observational data. We argue that the scientific contributions of data science can be organized into three classes of tasks: description, prediction, and causal inference. An explicit classification of data science tasks is necessary to describe the role of subject-matter expert knowledge in data analysis. We discuss the implications of this classification for the use of data to guide decision making in the real world

HERE

Thursday, 17 May 2018

A Tribute to the Printer Aldus Manutius and the Roots of the Paperback Book (2015)




A great piece HERE in the New York Times on an exhibition at the Grolier club about Aldus Manutius.




New York. A Series of Wood Engravings in Colour (1915).


New York. A Series of Wood Engravings in Colour (1915). Rudolph Ruzicka & Walter Eaton. (HERE)

One of the most celebrated book collectors of all time was Jean Grolier de Servieres (1490-1565), a one time Treasurer General of France and a Renaissance scholar of broad humanist interests. Grolier sought out the best quality printed books on fine paper and then had  the volumes finished in exquisitely tooled leather bindings. Famously, he was an important patron of the Italian printer Aldus Manutius, who had founded the Aldine press in Venice in 1494.  

In April 1518, after some prompting from the bookseller Fancesco Giuilo Calvo, the Dutch humanist Erasmus of Rotterdam wrote a flattering letter to Grolier, in which he said;
You owe nothing to our books; it is our books that are in debt to you, for you will secure them an undying name among posterity ,, with all your encouragement of literary men, you are at the same time yourself the most literate of them all. 

The Grolier club of New York was founded in 1884. It's aim is to celebrate all of the graphic arts involved in making high quality books: page design, typography, illustration and book binding. The current home of the club is in an affluent district of Manhattan, it has a museum and large research library and is an important venue for talks and seminars. The club has also throughout it's history published limited editions of exquisitely designed, illustrated and printed books. 

This book was published by the Grolier club in 1915. It captures New York in a period of rapid transition. Skyscrapers were transforming the city's skyline as it became one of the most populous and economically powerful cities in history. The prose was written by Walter Eaton and the book was designed and illustrated by the type designer and wood engraver Rudolph Ruzicka (1883-1978).  The ten colour woodblock engravings that had been made by Ruzicka were printed from his blocks by Emile Fequet in Paris.  

One of the chapters celebrates the efficiency and beauty of the bridges of New York.
So the bridges which handle with the greatest ease the greatest traffic, which fling the longest spans from the flanks of the tallest city, will ultimately be judged by their efficiency. They have risen to meet a new condition, on a new continent, born of the dreams of a new nation. Why should they not possess a new beauty? To the eye which sees New York steadily and sees it whole, they do.
This image shows the Queensboro Bridge, which spans the East River in New York city. It has a double cantilever steel design with five spans and a total of more than 1,000 metres of suspended roadway.  The bridge was opened to traffic in 1909 to connect midtown Manhattan with Queens via Roosevelt Island.  In The Great Gatsby, F. Scott Fitzgerald uses this bridge to note an arrival to New York City from Long Island: 
The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.
Rudolph Ruzicka was born in Kourim, Bohemia in 1883. He moved with his parents to Chicago in 1894 and by 1897 he was an unpaid apprentice in a wood engraving workshop. He studied at the Chicago Art Institute and New York School of Art and also worked for the American Banknote Company.  Ruzicka was well known as a type designer and worked for the Mergenthaler Linotype company. He designed the typeface Fairfield in 1940 and used the face in his redesign of the Harvard Business Review in the early 1950's. 

In 2002, the Grolier club published New York Revisited - in many ways a follow-on volume to this book (in the world of fine art printing, things can often take some time). The text in the book was written by Grolier club member Kenneth Auchincloss, and the book was designed, typeset, illustrated with colour wood engravings and hand printed by the fine-art printer Gaylord Schanilec. 

The publication of New York Revisited shows that even in an age of digital publishing, the book as a beautiful artefact is alive and well. In the Foreword, the author refers back to the New York volume that had been published by Grolier in 1915;
The highlight of the book is the wood engravings by Rudoph Ruzicka. Their muted colors and delicate line partially disguise the artist's reaction to the city, which one suspects was primarily alarm ... His images are deceptively light, but what they convey is the enormous vertical weight of the city.   
A total of 250 copies of New York Revisited were printed. The first 50 of these were specially bound and each of them contained a portfolio of Ruzicka engravings that had been newly printed by Schanilec from the blocks that Ruzicka had cut in 1915. These original blocks still existed and had been found in good condition in an old box in the Grolier club premises by their librarian.  

References

Elton, C.I. & Elton, M.A. (1893). The Great Book Collectors.
Scribners, New York.

Andrews, W.L. (1892). Jean Grolier de Servier, viscount d'Aguisy. Some account of his life and of his famous library. DeVinne Press, New York. 

Auchincloss, K. & Schanilec, G.  (2002). New York Revisited. Grolier Club, New York.

Bietenholz, P.G. & Deutscher, T.B. (1985). Contemporaries of Erasmus. Toronto University Press.

Hofer, P. (1978). Rudolph Ruzicka. Proc. Mass. Historical Society. Vol. 90, pp. 143-145.

Mynors, R.A.B., Thomson, D.F.S. & Bietenholz P.G. (1979). The Correspondence of Erasmus. Letters 594 to 841.  p. 403. Toronto University Press.

Tuesday, 15 May 2018

Thomas Newcomen's Engine (1717)


Henry Beighton's engraving of Thomas Newcomen's steam engine. From HERE. 

Wednesday, 9 May 2018

GRÅPH SKÄN (2017)



The graph scan algorithm traverses all reachable nodes in a graph. Its behaviour can be changed by plugging in different datastructures: Using an unordered set results in a random search, using a stack yields depth-first search, and using a queue gives breadth-first search.

From HERE.

Monday, 7 May 2018

Lessons from Bernard Rudofsky (2008)




View of Oia, Santorini
Watercolor, pencil, and gouache on paper. 
Bernard Rudofsky 1929.

From Lessons from Bernard Rudofsky - an exhibition held in 2008 at the Getty Center - website images and brochure HERE.

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