Tuesday, 29 March 2011

What It's Like, Sometimes, To Be A Scientist

Gordon Lynn Walls publication from 1956 - describing his attempts at tracking down an early pioneer of studies in colour and colour vision.


Gordon Lynn Walls. Journal of the History of Medicine and Allied Sciences
1956. XI (1) pp 66-96. 


HERE


The author of this blog unashamedly echoes these words. Even after extensive efforts digging into the life of Gordon Walls, it is still not clear what his roots were. I own up myself to being bumblesome and I second Gordon Walls' warning that it isn't wise to attempt historical research without training. In other words what Gordon Walls had to say about the mysterious G. Palmer, could also be said about Gordon Walls himself.  

More here;

From a talk given to the Colour Group of the Physical Society on February 20, by R. A. Weale, and published in Nature, March, 1957.

The Australasian Journal of OptometryVolume 40Issue 9pages 414–417September 1957.




First page of Trichromatic Ideas in the Seventeenth and Eighteenth Centuries*

Sunday, 27 March 2011

Carmel Beach 1905.

Swedish Rune Stone






HERE

Friday, 25 March 2011

James Joyce's Dublin

HERE is a superb book integrating text, maps and photos. James Joyce's Dublin: A Topographical Guide to the Dublin of Ulysses by Ian Gunn & Clive Hart. 


James Joyce's Dublin: A Topographical Guide to the Dublin of Ulysses


Below is a two-page spread from the book very kindly sent to me by Ian Gunn. 









Thursday, 24 March 2011

An Honorary Count of Messina

The recent earthquake in Japan has made me think again about my Grandads experiences in 1908 when he was a junior rating on the HMS Sutlej. On the 28th December 1908 a massive earthquake of magnitude 7.5 hit the Messina Straits, a narrow channel that separates Sicily from southern Italy. 


area of 12-28-1908 quake in Italy



The  earthquake  had a catastrophic effect at its epicentre and was followed by fires and a tsunami. Both Messina in Sicily and Reggio Calabria in Italy were almost completely destroyed.  A  shocking number of people were killed, estimates vary but it may have been up to 140,000  at Messina and 45,000 at Reggio Calabria. This earthquake was almost surely the the deadliest European earthquake ever it still ranks as one of the deadliest worldwide. 


Many nations came to the aid of the survivors and a number of Royal Navy and British Merchant Navy vessels landed men at Messina, which was the worst affected population centre. These men including my Grandad, Herbert James Lowe,  from the HMS Sutlej. He was born in 1891 so was just 17 years old when he landed to see the devastation of Messina after the earthquake. 



Whilst my Grandad was there he helped a young Sicialian woman have a baby. Along with many other British sailors he was awarded an honour. Family lore has it that because of his young age and the particular help he had given the frightened girl as he helped deliver her baby he was made an Honorary Count of Messina, this may or may not be true, but I have always believed it. 



Tuesday, 22 March 2011

Zero as a most natural Number - Dijkstra 1982

Computer Scientist Edsger W. Dijkstra's argument that counting for computer scientists should always start at zero = Here



Note that the classic book on the C computer programming language by Kernighan and Ritchie (Brian Kernighan and Dennis Ritchie The C Programming Language, Prentice-Hall 1978; ISBN 0-113-110163-3). Has a zeroeth Chapter - before Chapter 1. 





Monday, 14 March 2011

FWIS R.I.P.

FWIS R.I.P.

Penguin Classics



Penguin Classic Book Cover Designs by Coralie Bickford-Smith



A Sneaker colouring Book

HERE




My long time personal favourites are Adidas Samba - as coloured in by me above.

Saturday, 12 March 2011

Latest Design of Intense Seeing layout

Latest iteration of design elements for Intense Seeing.





Wednesday, 9 March 2011

House of Illustration

THE House of Illustration will be the world’s first centre dedicated to the art of illustration in all its forms. For the first time, there will be a home for illustration past and present, international and British, where visitors will be able to see and experience this most accessible and popular art form in a new and a wide variety of ways. It will be a unique cultural centre in central London.


**************************

A big K - by Jan Chrystian Bierpfaff.

Peter Arms Wick Collection from Ars Libri: slide 5

Peter Arms Wick Collection from Ars Libri
Jan Chrystian Bierpfaff. Libellus novus elementorum Latinorum cum aeneis picturis usui aurifabrorum inservientib. Hamburg, Germany, 1656

A Cajal image from Carl Schoonover: Portraits of the Mind

Portraits of the Mind: slide 2
Portraits of the Mind
Santiago Ramón y Cajal (1901), courtesy of Dr. Juan A. de Carlos, Cajal Legacy, Instituto Cajal (CSIC)

Drawing of the neuronal circuit found in the eye’s retina by Spanish scientist, Santiago Ramón y Cajal. By applying Golgi’s tissue-staining method with patience and virtuosity, he laid the foundations for the modern field of neuroscience.

Images de Pensée

A Stamp of Thoreau

Postage Stamps by AIGA Medalists: slide 15


The question is not what you are looking at - but how you look & whether you see.
Henry David Thoreau. A year in Thoreau's Journal 1851.

1934- James Joyce Ulysses

Here is a piece on the 1934 US edition of Ulysses by James Joyce, published by Random House, with four page spreads below. 



Tuesday, 8 March 2011

Monday, 7 March 2011

Gordon L Walls

I have continued digging around to see if I can find anything else about Gordon Walls. 


Here is a photo of him - from the System of Opthalmology written by  Sir Stewart Duke-Elder (1898-1978) and published in 1958.  The whole book is available HERE.











A Penguin

Here is Jan Tschihold's re-design of the Penguin for Penguin Books.

Sunday, 6 March 2011

Everything in the vertebrate eye means something.


If the comparative ophthalmologists of the world should ever hold a convention, the first resolution they would pass would say: 


          `Everything in the vertebrate eye means something.' 


Except for the brain, there is no other organ in the body of which that can be said. It does not matter in the least whether a liver has three lobes or four, or whether the tip of the heart points north or south, or whether a hand has five fingers or six, or whether a kidney is long and narrow or short and wide. But if we should make comparable changes in the makeup of a vertebrate eye, we should quite destroy its usefulness. Man can make optical instruments only from such materials as brass and glass. Nature has succeeded with only such things as leather and water and jelly; but the resulting instrument is so delicately balanced that it will tolerate no tampering. 

The Vertebrate Eye and its Adaptive radiation. G.L. Walls


Acuity, Sensitivity, Color and Movement

"If asked what aspect of vision means the most to them, a watchmaker may answer 'acuity', a night flier 'sensitivity', and an artist 'color'. But to the animals which invented the vertebrate eye, and hold the patents on most of the features of the human model, the visual registration of movement was of the greatest importance".


Walls, G.L. (1942). The vertebrate eye and its adaptive radiation. p342.



A Typical Vertebrate Eye

Here is a superb 700+ page treatise on the structure, function and evolution of the eye. The book The Vertebrate Eye and its Adaptive Radiation was written by Gordon Walls and published in 1942. The book is beautifully designed and typeset and includes dozens of very clear and well thought out illustrations. 


In a recent paper by Ronald Fernald on the Evolution of eyes (Eyes: Variety, Development and Evolution Russell D. Fernald. Brain Behav Evol 2004; 64: pp141–147 DOI: 10.1159/000079743) he describes the book as;



In his landmark book, Walls (1942) provided remarkable insights about all aspects of the vertebrate eye. This 785-page classic has numerous illustrations, many drawn by Walls, that provide details about the range and variety of evolutionary outcomes to be found in vertebrate eyes. Indeed, the variety of eyes is astonishing, reflecting the staggering range of adaptations produced by selective
pressures for vision in different habitats.

Gordon Walls was something of a renaissance man of 20th century vision science. Initially trained as an engineer, he took a masters degree in zoology, was an accomplished histologist and illustrator and taught visual physiology at Berkeley. Quite early in his career he wrote The Vertebrate Eye and its Adaptive Radiation. It is still the most comprehensive review of comparative anatomy of the eye. 

The following obituary of Gordon Walls was written at the University of California:
1963, University of California: In Memoriam 

Gordon Lynn Walls, Optometry; Physiology: Berkeley
1905-1962
Professor of Physiological Optics and Optometry


Gordon L. Walls died of a heart attack on August 22, 1962, at the age of fifty-seven in the midst of an active and unique career in science. He was writing a popular book, Everyman's Color Vision, had just finished a chapter on genetics for a book on children's vision (now to be dedicated to his memory), had at least two papers in progress (one of which was entitled Lightness, Darkness, Blackness, and--What's That Behind You?), and was validating his inexpensive version of an instrument for the diagnosis of color vision defects.
His latest interest, genetics and color vision, stands at the end of a varied and illustrious scientific trail that started with a bent for engineering at his graduation from Boston English High School in 1922. Although he earned his B.S. from Tufts in mechanical engineering (1926), he had exhibited unusual proficiency in biology as an undergraduate and was awarded both the Goddard Prize and the Olmsted Scholarship in Biology. He did not pursue a career in engineering because of a self-claimed difficulty with mathematics ("I flunked every math course I ever took!") and because of a fascination with zoology that he developed during a summer course at Woods Hole. He entered Harvard on a graduate scholarship intending to study wheel animalcules but one of his teachers arbitrarily gave him a problem concerning the photomechanical changes in the retina--thus, Gordon Walls' career in vision was launched. (He, nevertheless, authored a chapter on "The Rotifers" in a book on the microscopy of drinking water while working toward his A.M. degree, which he earned in 1927.) He continued his study of the retina as a graduate student (Sc.D. in zoology, 1931) and Postdoctoral Fellow (1931 to 1934, Alfred G. Lloyd and National Research Council Fellowships) at the University of Michigan and as an Associate in Zoology at the State University of Iowa from 1934 to 1937. For a short time he was a histologist for a biological supply house in Chicago and during the summers of 1937 and 1938 he was a nature-study leader for the North Shore Area Council. It was probably this latter work that prepared him to become in later years an unofficial guide and discussion leader at almost any zoo, aquarium, park, or observatory that he happened to visit. (Several of his colleagues visiting Mount Palomar a few years ago were astonished to find him guiding a sizable group of spellbound visitors on an impromptu lecture-tour of the observatory.)
His interest in vision was confirmed during a four-year Research Associateship in Ophthalmology at Wayne University College of Medicine and culminated with the publication in 1942 of his book The Vertebrate Eye. This 785-page classic contains about 200 illustrations, many of which Gordon Walls drew himself. The Cranbrook Press printed only 1,000 copies, about 200 of which were given to him to cover some of his publication expenses. By 1950 the supply was exhausted and much in demand. Today it is an expensive collector's item, still the most authoritative reference on the subject.
In 1942 Gordon Walls accepted a "war job" with Bausch and Lomb Optical Company doing research on vision with military optical instruments such as stereo-rangefinders. After the war he spent most of his time writing, ghost-writing and lecturing, all of which he enjoyed and did with excellence--but he longed to return to academic life. Ever since co-authoring a comprehensive monograph on intra-ocular color-filters of vertebrates in 1933 with Dr. Harold Judd, a leading Michigan optometrist, Gordon Walls had hoped some day to become associated with a university-affiliated school of optometry. Thus, his wish was fulfilled when Dean Kenneth Stoddard asked him in 1946 to join the Faculty of the School of Optometry at the University of California. He came to Berkeley as an Associate Professor of Physiological Optics and Optometry and Lecturer in Physiology and was made responsible for the graduate program in physiological optics. He also taught courses in morphology and physiology of the eye, physiological optics, evolution of the visual system, and color vision. With this position came tenure and the long-awaited opportunity to work in sportshirt without tie--he disliked formality and conformity. He was appointed Professor in 1952. During his fifteen and one-half years in Berkeley he established himself as one of the University's most engaging and enthusiastic lecturers, as one of the world's leading scientists in vision, and as a wonderful personality.
His students and colleagues will find it impossible to forget him. Memories will persist--trying to win an argument with him; finding him in the student machine shop late at night making a fifteen-cent bracket; seeing him answer a graduate student's question with a two-hour lecture of unbelievable clarity; watching him drive his red Triumph with beret slightly askew; meeting him in the library when he was searching for a reference in response to a casual inquiry; noting the sparkle in his eyes when he spoke of his daughter, Istar; stepping around him on the stairs near the departmental mailbox as he sat reading his daily mail. Basically, he was kind and warm, but he was at great pains to conceal it. He transported hitchhikers, often rerouting for their convenience. He was a meticulous cook and solicitous host; ask almost any lonely graduate student. When one of his students was stricken with tuberculosis, he arranged for the collection of funds, but contributed most of them himself, to buy a television set for her convalescence.
He loved to write, his personality as well as his scientific contribution was always obvious. In his 1938 paper on the reflecting properties of animal eyes he wrote:

"Perhaps you will ponder for a moment the antiquity of vanity. Even if you are not so philosophical, you will at least dwell upon the antiquity of mirrors. Perhaps you will wonder what clever swain it was who first delighted his lady by bringing her a polished piece of metal, sparing her thereafter those frequent hurried trips to the glassy pool among the lotuses behind grandfather's tomb.
" But the inventor of the mirror was no hawk-nosed youth dreaming in the shadow of a half-built pyramid. Indeed, no man at all, but an armored shark gliding over the bottom ooze of the warm Devonian seas."
In all, he published more than sixty journal papers and monographs, one book, and chapters to three other books. He was manuscript referee for three scholarly journals and sub-editor of one. He was a member of nine learned societies.
Gordon Walls' standing in the history of science is perhaps anticipated by the fact that his portrait introduces one of the chapters in Sir Stewart Duke-Elder's 1958 book, System of Ophthalmology, Vol. I, The Eye in Evolution. The book begins with a frontispiece of Charles Darwin and elsewhere includes Johannes Müller, Casey Wood, Ernest Starling, and René Descartes. Like his famous company, Gordon Walls possessed a rare appreciation for the organization and beauty of nature. If, in the course of history, he fails to make the frontispiece, it will surely be a near miss.
In many ways his life was like his own book. He said in the preface, "My conscience will be easier if most of my readers are glad that the book was not smaller."

M. C. Flom
C. Stern
H. E. White
--------------------------------------------------------------------------------

Friday, 4 March 2011

An Edward Tufte classic




One of Edward Tuftes re-designs. 

Thursday, 3 March 2011

Ed Ricketts Lab

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses. Its inhabitants are, as the man once said, 'whores, pimps, gamblers and sons of bitches,' by which he meant Everybody. Had the man looked through another peephole he might have said, 'Saints and angels and martyrs and holy men,' and he would have meant the same thing.
Cannery Row - John Steinbeck 1945.




Original image copyright thenormaleye (HERE).
 

Tuesday, 1 March 2011

Sizing the Horizon

Here is a paper  on a form of time series plot called a horizon.


Sizing the Horizon: The Effects of Chart Size and Layering on the Graphical Perception of  Time Series Visualizations


Jeffrey Heer, Nicholas Kong, Maneesh Agrawala


Abstract

We investigate techniques for visualizing time series data and evaluate their effect in value comparison tasks. We compare line charts with horizon graphs -- a space-efficient time series visualization technique -- across a range of chart sizes, measuring the speed and accuracy of subjects' estimates of value differences between charts. We identify transition points at which reducing the chart height results in significantly differing drops in estimation accuracy across the compared chart types, and we find optimal positions in the speed-accuracy tradeoff curve at which viewers performed quickly without attendant drops in accuracy. Based on these results, we propose approaches for increasing data density that optimize graphical perception. 




ACM Human Factors in Computing Systems (CHI), 2009. pp. 1303 - 1312. 


Awarded a Best Paper Award.


Below are a few images from the paper. 
















An example of this technique in ProtoVis is also available. 



Monday, 28 February 2011

Steven Heller

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 
those years.


Sunday, 27 February 2011

The Dévoluy

Phillipe Vandenbroeck is a mountaineer and a photographer. His site is HERE.

Wednesday, 23 February 2011

What you see whilst drawing, is what you need for drawing.

The figure below is from Visuomotor characterization of eye movements in a drawing task. Ruben Coen-Cagli, Paolo Coraggio, Paolo Napoletano, Odelia Schwartz, Mario Ferraro and Giuseppe Boccignone. Vision Research, 49, Issue 8, 2009, pp. 810-818. 


This is an interesting eye-tracking study that quantifies how much more you focus on an object when you are drawing it versus just viewing it. 


" 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."


In addition the proportion of inter-object saccades to total saccades (a saccade is a  quick, simultaneous movement of both eyes in the same direction) is four times higher for free viewing (c) versus drawing (d).







Friday, 18 February 2011

Google Public Data Explorer

Google Labs have a public data explorer live that allows you to make 'Gapminder' type visualisations of sets of data and the chance to upload your own data sets and interactively visualise them. 




Friday, 11 February 2011

70,000 Year Old Engravings

Here is a great, properly scaled, image of a 70,000 year old engraving fashioned by a human living at the Blombos cave at the Southern tip of what is now South Africa. Note how fine this geometric pattern is - the product of manipulative skill and fine motor control essentially identical with that of any modern engraver, calligrapher, typographer, watchmaker, artist or scientific instrument maker.


As Friedrich Engels noted over 100 years ago, and based on the scantiest of archeological evidence;


"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."


Friedrich Engels. The Part Played by Labour in the Transition from Ape to Man. Die Neue Zeit. 1895.




And Engels was essentially correct;

“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” 

Hands, John Napier, 1980, p.68


Wednesday, 9 February 2011

A Book from the Sky (1987-1991)



A Book from the Sky (1987-1991) is the common name of an installation made by the Chinese artist Xu Bing. The installation consisted of hand-printed books and scrolls printed from blocks inscribed with 'false' Chinese characters.



The installation was at the China Art Gallery, Beijing, China.


The installation took Xu Bing over four years to complete, A Book from The Sky is comprised of printed volumes and scrolls containing four thousand 'false' Chinese characters invented by the artist and then painstakingly hand-cut onto wooden printing blocks. 


[HERE]


Below is one of the blocks carved by Xu Bing for this project. By definition wood block carving is a study in negative space - it is the space that is NOT removed that delivers the ink (and in this case the whole installation generates a negative space of characters that do not really exist as characters).  










The art of the Noodle

From Wikipedia's piece on Chinese Characters;


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.

The thumb is the Hero...

As part of my reading around drawing I have wandered off a bit and looked up some stuff on the evolution of the precision grip of the human hand.  The wikipedia entry on THUMB is pretty good and refers to a 1981 book review in the New York Times of John Napiers book Hands (Review HERE).  


John Napier was quite a character; he worked with Louis Leakey in Olduvai gorge discovering an early Homind Homo habilis in 1960, he refuted the evidence of Big Foot and he also specialised in hands. Here is a nice paper on the difference between the precision and power grip of the human hand (Napier, John Russell (November 1956). "The prehensile movements of the human hand"J Bone Joint Surg Br 38 (4): 902–913.PMID 13376678.)











Tuesday, 8 February 2011

Picasso

Picasso was a brilliant draughtsman. Here is a delightfully drawn Portrait of a Woman from the MOMA Themes and Variations exhibition of his work.



Page of Bulls

Pablo Picasso was fascinated with bulls, bullfighting, the image of the Minotaur and the cult of Mithras. He also famously produced a set of eleven lithographs of bulls; all between December 1945 and January 1946. 


The series is HERE.






Bull ( Plate I. - December 5 1945 )


The series begins with this image.




Bull ( plate XI. - January 17 1946 )


And ends with this one.









Picasso also produced this lithograph called Page of Bulls in December 1945.


Monday, 7 February 2011

The IKEA Billy Bookcase

I am a veteran of about 25 years of putting together IKEA furniture. 


Even after all this time I am impressed with the great and completely text-free instructions that IKEA has with its flat pack products. I suspect that somewhere in IKEA headquarters in Sweden there is a whole department that specialises in making these instruction manuals. 


To the unsung heroes of the IKEA instruction department I salute you. 


Below, the iconic and cheap Billy bookcase. 



The Myth of the Paperless Office.

Notwithstanding the rise of the Kindle reader or iPad, paper is still great - and this is one of my favourite (paper, ink and card) technical books (Here). 




The Myth of the Paperless Office
Abigail J. Sellen and Richard H. R. Harper


The blurb from the MIT website;


"Over the past thirty years, many people have proclaimed the imminent arrival of the paperless office. Yet even the World Wide Web, which allows almost any computer to read and display another computer's documents, has increased the amount of printing done. The use of e-mail in an organization causes an average 40 percent increase in paper consumption. In The Myth of the Paperless Office, Abigail Sellen and Richard Harper use the study of paper as a way to understand the work that people do and the reasons they do it the way they do. Using the tools of ethnography and cognitive psychology, they look at paper use from the level of the individual up to that of organizational culture.


Central to Sellen and Harper's investigation is the concept of "affordances"—the activities that an object allows, or affords. The physical properties of paper (its being thin, light, porous, opaque, and flexible) afford the human actions of grasping, carrying, folding, writing, and so on. The concept of affordance allows them to compare the affordances of paper with those of existing digital devices. They can then ask what kinds of devices or systems would make new kinds of activities possible or better support current activities. The authors argue that paper will continue to play an important role in office life. Rather than pursue the ideal of the paperless office, we should work toward a future in which paper and electronic document tools work in concert and organizational processes make optimal use of both.



Blind Photographers




 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".





Sunday, 6 February 2011

Discipline for the eye, brain & hand

IN MID September 1940 several young lads and a dog, from the village of Montignac in the Dordogne region of France, stumbled upon a cave in Lascaux that was crammed full of beautiful pre-historic paintings. The paintings cover the walls and ceilings of a large interconnected cave system and show about 2,000 figures of animals, humans and abstract symbols.


Breuil, H.(1941). A Remarkable Painted Cave on the Estate of Lescaux (Montignac, Dordogne). Nature. 147, 12-13. 


The animal depictions are stylish and accomplished and some of the symbols include non-figurative dot clusters that may be rudimentary star-charts. This incredible collection of paintings was made about 20,000 years ago by Cro-Magnon's; fully modern Homo sapiens who about 40,000 years began migrating into Europe, displacing the resident hominids, Neanderthal man or Homo neanderthalensis, in the process. 



The images found in Lascaux provide beautiful evidence that although modern humans, Homo sapiens, and their close hominid relatives Homo neanderthalensis, had much in common anatomically, modern humans have always had cognitive capacities that distinguish us from all other species. In fact there is a striking contrast between the records left behind of the lives that Homo sapiens and Homo neanderthalensis led thousands of years ago. Currently there is no evidence that any extinct human species had a complex symbolic existence. It appears that only modern humans have a highly developed capacity to create complex symbolic marks using artistic media. In other words not only have we always loved to draw, we are uniquely capable of drawing. 


An image of the now extinct Irish Elk, Megaloceros giganteus, from the Lascuax caves. Image from Wikimedia.