Were it not for shadows, there would be no beauty.
“Were it not for shadows, there would be no beauty.”
–Jun’ichirō Tanizaki.
In Praise of Shadows (陰翳礼讃)
“Were it not for shadows, there would be no beauty.”
–Jun’ichirō Tanizaki.
In Praise of Shadows (陰翳礼讃)
When providing directions to a place, web and mobile mapping services are all able to suggest the shortest route. The goal of this work is to automatically suggest routes that are not only short but also emotionally pleasant. To quantify the extent to which urban locations are pleasant, we use data from a crowd-sourcing platform that shows two street scenes in London (out of hundreds), and a user votes on which one looks more beautiful, quiet, and happy. We consider votes from more than 3.3K individuals and translate them into quantitative measures of location perceptions. We arrange those locations into a graph upon which we learn pleasant routes. Based on a quantitative validation, we find that, compared to the shortest routes, the recommended ones add just a few extra walking minutes and are indeed perceived to be more beautiful, quiet, and happy.
Photos are lies because art is a lie. Art is artifice. Art makes things as they are not—occasionally in the service of greater truths […] To get a “true” photo, you need to remove artifice. This means removing art. Art’s opposite is bulk surveillance. Drones, CCTV, ultra-fast-ultra-high-res DSLR, our fingers stroking our iPhones or tapping at Google Glass. Omnipresent cameras suction up reality without curation. We’re at the finest time in history to see stars, or anyone, photographed looking like hell.
http://m.vice.com/read/photo-real-on-photoshop-feminism-and-truth
“Beauty really is a delicate subject in Germany,” Mr. Kjartansson said one morning last week, as he adjusted a scale model of the stage at the Art Deco-era Volksbühne, one of Germany’s largest state-run theaters. “In the name of beauty, the most despicable and disgusting things happened in this city,” he added.
http://www.nytimes.com/2014/02/20/arts/international/testing-german-ideas-of-beauty.html?_r=0
D’Annunzio’s heroic exploits as a pilot during the war (Hughes-Hallett’s excellent account of this phase of the poet’s life underlines his genuine bravery) and his occupation of the city of Fiume in 1919–20 in defiance of the government in Rome and the international community cemented his position as prophet-bard and champion of national regeneration. The Fiume episode, whose aesthetic, moral and political perverseness is vividly captured by Hughes-Hallett, provided the nascent Fascist movement with further material on which Mussolini later drew: choreographed parades and ceremonies, ritualized chants, exotic uniforms, the celebration of youth, the cult of the heroic (and shaven-headed) leader, inflammatory speeches from balconies designed to generate a collective euphoria akin to religious enthusiasm.