User:Erisagal/sandbox

= Black Penny = "The Black Penny was a coin or medal which belonged to a family named Turnbull, living at Hume-Byres in Northumberland. It was used to cure madness in cattle, and was frequently borrowed for this purpose by Northumberland, Durham, and Yorkshire farmers. The coin had to be dipped into south-running water, and the latter was then drawn off and given to afflicted beasts to drink.

A letter written by one of the Turnbulls in 1843, and quoted in the Denham Tracts says the penny was 'not quite so large as a common penny, but thicker. It had a kind of raised rim or border, and seemed to be composed of copper and zinc. It had been in the family for a hundred years at least. The family lived at Hadden, near Sprouston, when they got it. It had been several times given out, and once a purse containing gold, but to what amounts was not known, and was left as a deposit for its safe return.'

It seems to have been lost about 1827. It was lent to a man near Morpeth, who stated that he had returned it by post; but if he did so in fact, it never arrived, and has not been found since.

In 1871 in Pulaski, Tennessee, water boiled with Madstones were applied to children bitten by a mad dog.

= John Watson (American surgeon) = Born in Londonderry 16 April 1807

Taken by his parents to America in 1810. Graduated from New York College of physics and surgeons in 1832.

Physician of New York dispensary 1833-5

Attending surgeon of New York hospital in 1839-62 where he introduced many reforms

Founded an infirmary with H.D Bulkley M.D. for cutaneous diseases organised as Broome st. sch. of medicine where he was the professor of surgical pathology

Helped organise New York medical and surgical society, American medicine association, and New York Academy of Medicine of which he was president from 1859-60

Founded the New York medical and surgical journal with J.A. Swett around 1840

Author of The Medical Profession in Ancient Times (1856), The True Physician (1860), A History of Medicine (1862), and other books.

Died in New York, June 3, 1863

References written: Appleton's Cyclopoedia of American Biography (1889, vi 392), Allibone's Critical Dictionary (1871, iii 2605)

Bernat Klein
Knitting patterns Bernat Klein Ltd, (1960s):Margaret Klein, a skilled hand-knitter, created a range of knitting patterns using Bernat's signature highly textured, space-dyed yarns. Consumers could knit their own Bernat Klein creation without the couture price tag. As with all aspects of the Klein brand, the graphic design of these patterns was carefully considered, and photoshoots of the finished garments took place at High Sunderland.

Branding and Identity: In 1962, his company was renamed Bernat Ltd and he marketed his textiles to Europe and North America via agents. The Helvetica font was employed across logos, mail order catalogues and garment labels. Branding and the canny use of graphic design set Klein apart from his competitors and his personality became linked with the company's identity. He was also an educator and theorist. He believed that good design could be a force for good society, authoring two books on the subject: Eye for Colour (1965) and Design Matters (1967).

Advertising and branding material Bernat Klein Ltd and Bernat Klein Design Consultants Ltd. Printed paper, card, hand drawn ink (1962-92): In 1962, Robert Sinclair Tobacco acquired a majority interest in Bernat's business, giving the company significantly greater resources to promote their products to a transatlantic market. Graphic design was key to the Klein brand and no element of the company's image was left to chance. The Klein family home High Sunderland and the Bernat Klein Studio often featured in branding material, aligning the company and its values with modernist architecture.

The size proportions of the Bernat Klein logo are meticulously determined. Some notes visible on the Bernat Klein logo plan board are: "Visible are area of board end", "Trim", "Finished trim size", Reverse image: white lettering", "Edge of colour area"

Colour cloth and couture

Woman's suit Bernat Klein Ltd for CHANEL, Paris, France 1963 Spring/Summer Haute Couture Collection. Woven mohair and wool, silk, silk covered buttons (1963): In 1962, he was propelled into the international couture market, when Gabrielle Coco Chanel selected one of Klein's mohair tweed womenswear textiles for her Spring/Summer 1963 collection. The House of CHANEL had reopened in 1954, after a wartime hiatus. The use of highly textural novelty tweeds was a key element of Chanel's post-war comeback.

The tweed is a mixture of red, pink, green, and orange with green buttons and cuffs.

Colour board. Bernat Klein Hardboard, paper, wool (1960-73): Klein's space-dyeing or random dyeing process made it possible for a single yarn to contain up to eight colours and therefore to combine up to 32 colours in a single cloth - making the careful selection and balancing of colours essential. many yarn finishing processes were carried out in Klein's mill in the Scottish Borders where the landscape provided inspiration. Klein created this board to help him select colours for the design of woven textiles.

Mohair tweeds. Bernat Klein Ltd. Woven mohair, wool, and synthetic fibres, card (1960s): Luminous colour effects were made possible by combining brushed, space-dyed mohair in multiple hues. Couturiers such as Chanel and Dior used mohair tweed extensively for coats and suiting, the clean lines of 1960s high fashion made the textiles the focal point of the garment.

Styling interiors

Tulip 2 Bernat Klein (1962): One of a series of abstract paintings of tulips produced by Klein in 1962. Painting formed an important part of his creative process. He often used enlarged close-up photographs of sections of his oil paintings in his design development. The colour groupings and compositions found in these details are evident in many of his textile designs.

Tulip petals rug Berna Klein Design Consultants Ltd for Tomkinsons, Kidderminster, England Machine woven long-pile wool, jute and cotton backing (1967): Klein's colour compositions and patterns for carpets and rugs, like many of his textile designs were based on his oil paintings. He designed several rugs for the carpet manufacturer Tomkinsons, and some specifically for the Scandinavian market, demonstrating his international reputation for interior textiles.

Press cuttings: Throughout the 1960s, his designs received favourable coverage in leading industry publications in London and Paris. It is common practice for textile designers to sell their cloth anonymously through global agents. Klein only became aware of Chanel purchasing his cloth for her 1963 collection when he red about it in French Elle. Klein's agents included Dumas-Maury in Europe and Chantal in North America.

Highland Pool. Bernat Klein for Dovecot Studios, Edinburgh, Scotland. Woven tapestry, cotton and wool (1971): In the early 1970s, he commissioned Dovecot Studios to produce a series of ten tapestries, based on magnified sections of his impasto oil paintings. This proved to be technically challenging, and the studio weavers employed a variety of highly innovative tapestry techniques to capture the three-dimensional qualities of Klein's paintings.

In the late 1960s, Klein moved away from high fashion to focus on screen-printed textiles and ready-to-wear fashion in response to a changing socio-economic climate. He produced fabrics for hand-knitting to allow consumers to make their own Bernat Klein creations.

Bernat Klein Spring/Summer 1979 cloth colour selector. Bernat Klein Design Consultants Ltd. (1979): Colour was key to Klein's theories about personal style and well-being. Mail order, ready-to-wear catalogues included pull out colour charts to help consumers mix and match textiles and garments to form a harmonious ensemble.

Mail order womenswear catalogues Bernat Klein Design Consultants Ltd. 1974 Spring/Summer collection, 1973 Autumn/Winter collection: Klein launched his first mail order catalogues in 1973, featuring garments in his newly developed screen-printed polyester jersey fabrics. Looks were arranged into colour groupings. These catalogues had high production values and featured carefully styled photo shoots and a coherent visual identity.

Board from Colour Box. Bernat Klein. Card, paper, plastic, gouache, wool (mid-1970s): Klein designed a "5000 piece colour dictionary" to assist him in the design of woven and printed textiles and communicate with dyers and painters.

Exhibition catalogues: Alongside his design practice, he achieved recognition as a painter. He studied fine art under the tutelage of Mordecai Ardon, an alumnus of the Staatliche Bauhaus - an influential German art school.

Seascape. Bernat Klein. oil on board. (1963): The semi-abstract work is based on an aerial view of the sea swirling over rocks observed from an aeroplane over the Italian coast. Klein broke images from nature into flat planes of colour, applying the oil paint in thick layers with a palette knife to create a sense of dynamism. This technique is known as impasto.

Coat and dress. Bernat Klein Ltd. Woven velvet ribbon, mohair, wool and synthetic fibres, silk (1964): The rich shades of blue and green in Seascape are reflected in the coat and dress, which belonged to Margaret Klein, his wife and collaborator.

Autumn Trees. Bernat Klein. Oil on linen canvas (1964): The painting was inspired by the colours and seasonal conditions of the Scottish landscape. His approach to design was inspired by colour theory and post-impressionism works notably by Georges Seurat. Seurat pioneered the technique called pointillism.

= Drafting bits = Existential quantifier

“The symbol appears to have been first used by Giuseppe Peano, the founder of mathematical logic, in a book published in 1896 (although it was Bertrand Russell who first popularized the use as the existential quantifier). In addition to the (existential quantifier symbol) Peano was responsible for several pieces of terminology that logicians still use today- particularly in set theory.”

(…) Peano introduced the notation (includes ) to denote membership.

Also introduced (unhappy face intersection) to denote the intersection of sets, as well as the (happy face union) to denote the union of sets.

Universal quantifier

“The German mathematician Gerhard Gentzen first used (universal quantifier), in the sense meant here, in a 1935 paper. Gentzen explained he was using the inverted A in analogy of Russell’s use of the backwards E.

Gentzen didn’t have time to do so much more mathematical work; he died of malnutrition while being interned by Russian forces after the Second World War.

In 1755, Euler suggested that the symbol (sigma) be used to denote the sum of series

Stephen Webb, Clash of Symbols (A Ride through the riches of glyphs) ISBN: 978-3-319-71349-6

https://doi.org/10.1007/978-3-319-71350-2

Marie-Louise von Franz. “The Idea of Macro- and Microcosms in the light of Jungian Psychology”

~Art Biography? Maybe?~

Wendelien van Oldenborgh

ウェンデリン・ファン・オルデンボルフ（1962年ロッテルダム生まれ、ベルリン在住）は、2017年ヴェネチア・ビエンナーレのオランダ館代表を務めるなど、オランダの現代美術を代表するアーティストの一人として、20年以上に渡り映像作品や映像インスタレーションを発表してきました. 彼女の映像は、他者との共同作業を通じて人々の関係を形成すると同時に、それによって形作られるものとして試行を重ね、シナリオを設定しない撮影に、キャストやクルーとして参加する人々が現れます. 撮影の場という設えられた状況で、あるテーマについて人々が対話する過程で発露する主観性や視座、関係性を捉え、鑑賞者の思考との交差を指向します.

このたび当館で開催する国内初めての個展「柔らかな舞台」では、彼女の代表的な映像作品から新作まで6点を展示します. ［美術館サイトより］

https://artscape.jp/exhibition/pickup/10181132_1997.html

Junaida 展 Imaginarium

『Michi』『の』『怪物園』(すべて福音館書店)など、近年出版した絵本がいずれも話題の画家、 junaida(ジュナイダ、1978-). ヨーロッパを思わせる謎めいた世界に、細密に描きこまれた人物や背景. 鮮やかな色彩の中に、明るさと闇が共存する不思議な世界観が大きな注目を集めています.

「IMAGINARIUM」は、たゆまぬ冒険を続けるjunaida初の大規模個展です. 赤や金に彩られた異世界に、絵本原画や一枚絵として描かれた400点超の作品が陳列されます. 本展のために描き下ろした作品や、動く怪物たちにも出会いながら、空想世界の全貌をお楽しみください. 展覧会図録をはじめ、オリジナルのミュージアムグッズを多数販売します. 広報物や図録のデザインは『の』『怪物園』などのブックデザインを手掛けるコズフィッシュが担当します. ［公式サイトより］

https://artscape.jp/exhibition/pickup/10179841_1997.html

野口里佳　不思議な力

このたび東京都写真美術館では「野口里佳 不思議な力」展を開催します. 野口里佳は1995年「写真3.3㎡（ひとつぼ）展」と1996年「写真新世紀」展でのグランプリ受賞以降、〈フジヤマ〉(1997年–)、〈飛ぶ夢を見た〉(2003年)、〈太陽〉(2005–08年)、〈夜の星へ〉(2014-15年)などの写真・映像作品を国内外の展覧会で発表し、国際的にも高い評価を受けている写真家です. 野口はこれまでに、水中や高地、宇宙といった未知の領域と人間との関わりをテーマにした作品を手がけてきました. 近年では、日常や周囲に満ちる無数の小さな謎の探求を通して、見るものの感覚や想像を解き放つような表現を追求しています. 写真と映像、ドローイングによって構成される本展は、初期作品〈潜る人〉(1995年)から最新作〈ヤシの木〉(2022年)までを出品作品に含み、時間や場所も超えていく写真の「不思議な力」に導かれるように、野口がこれまでに出会ってきた様々な現象や光景が描き出されます. その独自の作品表現に触れることは、それぞれの存在がこの世界に生きていることの意味を見つめ直し、また写真・映像のもつ「不思議な力」とは何なのかを考えるきっかけとなることでしょう. ［美術館サイトより］

https://artscape.jp/exhibition/pickup/10179840_1997.html

Other
特別展「毒」

「毒」は基本的にヒトを含む生物に害を与える物質として理解されています. しかし、毒のなかには単に毒にとどまらず、薬効をもつものもあります. 「生物に何らかの作用を与える物質」のうち、人間にプラスに働くものを薬、マイナスに働くものを毒と呼んで、多様で複雑な自然界を理解し、利用するために人間が作り出した概念と考えることができます. 人体に有用なものでも、摂りすぎると毒になることがあります. また、アレルギー反応にみられるように、感受性の高低によっても毒性は異なります.

本展では動物、植物、菌類、そして鉱物や人工毒など、自然界のあらゆるところに存在する毒について、動物学、植物学、地学、人類学、理工学の各研究分野のスペシャリストが徹底的に掘り下げ、国立科学博物館ならではの視点で解説していきます. 毒をテーマにした特別展は、国立科学博物館では初めての開催となります. ［公式サイトより］

This is my sandbox. This is where I will draft my article first.
 * User:Erisagal/sandbox01