Questioning Chinese calligraphy's tomorrow.
Critical Insights into Calligraphy
Encoding Chinese Calligraphy Prototyping and Demos
Weihong Yan (John Morgan): Chief Executive of Director, WACS（组长）
Zhao Hong: 首都师范大学书法教授
Angelica Docog: 得克萨斯州大学圣-安东尼文化研究院院长
Did the Abstract Expressionist hide his name amid the swirls and torrents of a legendary 1943 mural?
By Henry Adams
Smithsonian Magazine |
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It was my wife, Marianne Berardi, who first saw the letters. We were looking at a reproduction of Jackson Pollock’s breakthrough work, Mural, an 8-by 20-foot canvas bursting with physical energy that, in 1943, was unlike anything seen before.
The critic Clement Greenberg, Pollock’s principal champion, said he took one look at the painting and realized that “Jackson was the greatest painter this country has produced.” A Museum of Modern Art curator, the late Kirk Varnedoe, said Mural established Jackson Pollock as the world’s premier modern painter.
I was researching a book about Pollock’s lifelong relationship with his mentor, Thomas Hart Benton, the famed regionalist and muralist, when I sat puzzling over a reproduction of Mural after breakfast one morning with Marianne, herself an art historian. She suddenly said she could make out the letters S-O-N in blackish paint in the upper right area of the mural. Then she realized JACKSON ran across the entire top. And finally she saw POLLOCK below that.
The characters are unorthodox, even ambiguous, and largely hidden. But, she pointed out, it could hardly be random coincidence to find just those letters in that sequence.
I was flabbergasted. It’s not every day that you see something new in one of the 20th century’s most important artworks.
I’m now convinced that Pollock wrote his name in large letters on the canvas—indeed, arranged the whole painting around his name. As far as I can tell, no one has previously made this assertion. Nor is there evidence that Pollock himself, who was loath to talk about his art and left behind few written records, ever mentioned this coded gesture.
I’ve shared my theory with several Pollock experts. They’ve had mixed reactions, from “no way” to “far-fetched” to “maybe.”
“It’s feasible,” says Sue Taylor, an art historian at Portland State University, who has studied Pollock’s 1942 canvas Stenographic Figure, which includes written symbols. “Pollock would often begin with some sort of figurative device to which he would then respond—and eventually bury under layers of paint. Letters and numbers, moreover, frequently appear in works of the early 1940s.”
It may not be possible to answer the question definitively unless scientists use X-ray scanning or some other method to trace which pigments were put down first. At the moment there are no plans to do such an analysis.
If my theory holds up, it has many implications. Mural, commissioned by the collector Peggy Guggenheim for her New York City apartment, is the stuff of legend. Owned by the University of Iowa since Guggenheim donated it in 1948, the painting is said to be worth $140 million. (A later Jackson Pollock painting, Number 5, 1948, reportedly sold in 2006 for $140 million—the highest price ever paid for a work of art.) Mural is so central to the Pollock mystique that in the 2000 movie Pollock, the artist (played by Ed Harris), having stared perplexedly at a giant empty canvas for months, executes Mural in a single session the night before it’s due to be delivered. That (standard) version of events, originally advanced by Pollock’s wife, the artist Lee Krasner, reinforces the image of Pollock as an anguished, spontaneous genius. But the art critic Francis V. O’Connor has debunked the story, saying Pollock probably executed Mural during the summer of 1943, not in one night in late December.
Pollock’s possibly writing his name in Mural testifies to an overlooked feature of his works: they have a structure, contrary to the popular notion that they could be done by any 5-year-old with a knack for splatters. In my view,
Pollock organized the painting around his name according to a compositional system—vertical markings that serve as the loci of rhythmic spirals—borrowed directly from his mentor, Benton.
Pollock had studied under Benton for two years and once told a friend that he wanted Mural to be comparable to a Benton work, though he didn’t have the technical ability to make a great realistic mural and needed to do something different.
I have found no evidence that Pollock wrote his name in such fashion on any other canvas. In a way, that makes sense. To Pollock, I think,
Mural announced that he was replacing Benton, a father figure whom he once described as “the foremost American painter today.” It was Pollock’s way of making a name for himself.
Henry Adams is the author of Tom and Jack: The Intertwined Lives of Thomas Hart Benton and Jackson Pollock, to be published in November by Bloomsbury Press.
Prof. Joe (Left), Prof. Yan (Right)
Paul Klee (German: [paʊ̯l ˈkleː]; 18 December 1879 – 29 June 1940) was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's A Treatise on Painting for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
An overview of the two-year Getty project dedicated to Jackson Pollock's seminal painting, "Mural" (1943), focusing on the scientific analysis and conservation of the painting.
Being a beast machine | Anil Seth | TEDxSouthampton
What explains the experience of being a conscious self – of being you? Drawing on cutting-edge cognitive neuroscience and old ideas from psychology and control theory, Anil Seth describes how our conscious selves emerge from a fundamental biological drive to stay alive in an unpredictable world. Anil Seth is a Professor of Cognitive and Computational Neuroscience at the University of Sussex and Co-Director (with Prof. Hugo Critchley) of the Sackler Centre for Consciousness Science. He is the Editor-in-Chief of Neuroscience of Consciousness (Oxford University Press), Editor and Co-Author of 30 Second Brain (Ivy Press, 2014), Consultant for Eye Benders (Ivy Press, 2013; winner of the Royal Society Young People’s Book Prize 2014). Anil contributes regularly to a variety of media including the New Scientist, The Guardian, and the BBC and writes the popular blog NeuroBanter. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx
Perceptual and physiological responses to Jackson Pollock’s fractals-杰克逊波洛克分形的感知和生理反应与汉字书法分型的感知及心理分析
What I love about language
Is what I love about fog:
What comes between us and things
Grants them shine.
- "Fog Suite", Mark Doty
BIG IDEAS (大创意/大超越)
"If you do not give up your Stereotype Threat concept, you will fail to interpret Chinese calligraphy to the world."
“成見威脅和多维度”理念（stereotype threat and multi-dimensional thinking）與漢字藝術的全球化:
人们對事物的認識均有各自的stereotype心理问题，stereotype猶如中国教育中常常讲的马克思主义矛盾学术，stereotype猶如矛盾的存在，其無處不在，也無時不有。漢字書法已經经历了近四千多年的历史，今天依然沒有大的發展與變革，此乃大國文化之焦慮。造成這種焦慮的原因除了來自體制的上層建築因素以外，另一個原因是書法研究者們被stereotype所局限。大數據時代的今天要打破这个局限，我說是以俯看萬物的視角，書法界會和你討論，今天需要繼承祖先的傳統，明天我們的書法需要創新，究竟哪個角度最重要，抉擇的困難可能是煩惱，這就是一個不同的“維度（英文叫dimension）”思考問題所帶來的煩惱，和自由的維度思考成為對立面。維度的提升基於打破stereotype格局。學術創新的根本意義就是提升意識能量的自由度(the energy of consciousness freedom)，有了自由度，即打破了stereotype，維度能量自然提升。一維(1D)是一條線，如何創新和打破stereotype，這一條線，怎麼也不會構成眾多的文字書法，兩條線即是二維，我們可以畫一個很美的圖形文字，二維 (2D)的美比一維的美有無窮多倍，三維(3D)的美感比二維又有多了無窮倍。因此得出一個結論，每多一維，即可多出無窮多倍的美。那麼如何用大數據理念去思考漢字書法的當下和未來的價值，這需要學者們以當代的多维度思考（multi-dimensional thinking）來探索漢字書法的未來性。我們假設一種情形，在漢字發明的數千年前，我們的祖先也許就看到了今人所發生的藝術風格與流派，這裡的藝術風格和流派，我具體指的是西方的當代藝術，如果有一天，有人論證了這個事實是真實的，那麼當代藝術之父即非東方的漢字書法莫屬。這個大謎底就留給世界的學術界去討論吧。人類最重要任務就是要破除這個stereotype的局限性帶來的一種限制，當我們脫離開時空層的那個問題的焦慮的時候，可以站在不同時空的角度看問題的時候，你會發現，什麼問題均不成為問題！我們堅持這種打破那些stereotype的格局和多維度的思考，書法文化才有出頭之日，才有可能被世界認可。"（自約翰 · 摩根語-世界中國學研究會首席執行會長）
Stereotype threat is a situational predicament in which people are or feel themselves to be at risk of conforming to stereotypes about their social group. Since its introduction into the academic literature, stereotype threat has become one of the most widely studied topics in the field of social psychology.
Schmader, Toni; Johns, Michael; Forbes, Chad (2008). "An integrated process model of stereotype threat effects on performance". Psychological Review. 115 (2): 336–356. doi:10.1037/0033-295X.115.2.336. PMC 2570773 . PMID 18426293.
Schmader, Toni; Johns, Michael; Forbes, Chad (2008). "An integrated process model of stereotype threat effects on performance". Psychological Review. 115 (2): 336–356. doi:10.1037/0033-295X.115.2.336. PMC 2570773 Freely accessible. PMID 18426293.
灵感和直觉的伟大：直觉是来自高维（high dimensional view）的信息，人类所有科学发明来自于灵感，灵感来自高维信息......
BIG IDEAS: What is a “big idea/大创意”? （Grant Wiggins哈佛教授教育理论体系）