Steven Heller was the
art director of The New
York Times Book
Review from 1978 to
2007. The following
covers are some of the highlights of
" We ﬁnd that a peculiar feature of the drawing behavior is that the gaze does not move back and forth among diﬀerent objects, but proceeds sequentially, and most ﬁxations on an object are executed within a time interval in which no ﬁxations occur on other objects."
"the decisive step was taken: the hand became free and could henceforth attain ever greater dexterity and skill, and the greater flexibility thus acquired was inherited and increased from generation to generation."
“One cannot emphasise enough the importance of finger-thumb opposition for the emergence of man from a relatively undistinguished primate background. Through natural selection, it promoted the adoption of the upright posture and bipedal walking, tool-using and tool-making which, in turn, led to enlargement of the brain through a positive feed-back mechanism. In this sense it was probably the single most crucial adaptation in man’s evolutionary history”
The most complex Chinese character still in use may be biáng below, with 57 strokes, which refers to Biang biang noodles, a type of noodle from China's Shaanxi province. This character along with syllable biang cannot be found in dictionaries. The fact that it represents a syllable that does not exist in any Standard Chinese word means that it could be classified as a dialectal character.
| Here is a description of an exhibition called "Sight Unseen: International Photography by Blind Artists" that was held at UC Riverside's California Museum of Photography. The exhibition assembled 87 works by 11 artists and one collective. The LA times has a collection of images from the exhibition here (http://tinyurl.com/noc5zo).|
One of the artists is Michael Richard, who died in 2006, his obituary is here (http://tinyurl.com/y9noaqq).
The image below is a photo by Michael Richard called "Double Take".
I create my artwork through the slow application of decisive marks. As I draw, I follow a loose formula based on what I've already drawn, filling areas of the picture plane gradually, without making initial layout sketches. This makes the final product somewhat unexpected and emergent. It is doodling with restraint. Lines build up into geometric shapes and patterns of varying density and scale to "grow" forms that look organic. Shapes push and pack in organized clusters, accumulating in ways analogous to the growth of cells, tissues, organs, organisms, and communities. I investigate natural phenomena and I attempt to describe my limited understanding of them using a visual mathematical language.