thenearsightedmonkey:

Dear Students,

Here is a good series of pictures to draw. Spend about 15 minutes on each drawing. Start with non-photo blue and then pick any pony you like to take you the rest of the way.

Sincerely

Professor Lynda B.

darksilenceinsuburbia:

Wayne Lawrence

Orchard Beach: The Bronx Riviera

Although New York’s Bronx is considered one of the most diverse communities in America out of which many subcultures originated, such as Hip Hop and Salsa, it’s still viewed as a no man’s land by many of the city’s inhabitants. Perhaps it is a matter of simple geography that many refuse to venture to the northernmost of the city’s five boroughs or, quite possibly, it may be the Borough’s malevolent reputation lingering from its tumultuous past.

From its earliest years, the Bronx has been a hotbed of immigrant working class families, but its image has largely been defined by the urban blight of the late 1960’s through to the 1980’s when arson, drug addiction and social neglect decimated many of its neighborhoods. For the families who have called this scarred landscape home, Orchard Beach, the only beach in the borough, was and remains a treasured respite from the sweltering confines of the concrete jungle. Built in the 1930s by urban planner Robert Moses, the beach carries the stigma as being one of the worst in New York and is commonly known as Horseshit Beach or Chocha Beach.

I began shooting portraits of Orchard Beach’s summertime regulars in 2005 shortly after moving to New York, realizing that the stigma attached to this oasis was largely unjustified - I felt compelled to engage with this community of working class families and colorful characters. The photographs in ‘Orchard Beach – The Bronx Riviera’ celebrate the pride and dignity of the beach’s visitors, working-class people.

Immediately catching the viewer’s eye is the extravagant style of many of the photographs’ subjects – a quest for identity and sense of belonging. Some individuals carry scars and markings that hint to their own personal histories, which often reflect the complex history of the borough itself. Within the gaze of those portrayed we see a community standing in defiance of popular opinion.

The six years I spent photographing Orchard Beach have not only given me the time and space to reflect on the importance of family and community, but also a sense of belonging and purpose. After having experienced the most profound grief when my older brother was brutally murdered, photography has not only offered me an opportunity to give a voice to a community often misunderstood but also a means of healing from the loss experienced.

— Wayne Lawrence / INSTITUTE

Via

thenearsightedmonkey:

Dear Students
It’s the middle of our summer vacation. So why not take 20 minutes to draw this picture? Start with non-photo blue pencil for five minutes and then take 15-20 minutes to ink it in.
Prof LOSSC
17.08.14/18:41/ 1727
thenearsightedmonkey:

Thank-you to Nick Sousanis for bringing this article to our attention
WHAT’S LOST AS HANDWRITING FADES?

By MARIA KONNIKOVA JUNE 2, 2014
New York Times


Does handwriting matter?
Not very much, according to many educators. The Common Core standards, which have been adopted in most states, call for teaching legible writing, but only in kindergarten and first grade. After that, the emphasis quickly shifts to proficiency on the keyboard.
But psychologists and neuroscientists say it is far too soon to declare handwriting a relic of the past. New evidence suggests that the links between handwriting and broader educational development run deep.
Children not only learn to read more quickly when they first learn to write by hand, but they also remain better able to generate ideas and retain information. In other words, it’s not just what we write that matters — but how.
“When we write, a unique neural circuit is automatically activated,” said Stanislas Dehaene, a psychologist at the Collège de France in Paris. “There is a core recognition of the gesture in the written word, a sort of recognition by mental simulation in your brain.
“And it seems that this circuit is contributing in unique ways we didn’t realize,” he continued. “Learning is made easier.”
A 2012 study led by Karin James, a psychologist at Indiana University, lent support to that view. Children who had not yet learned to read and write were presented with a letter or a shape on an index card and asked to reproduce it in one of three ways: trace the image on a page with a dotted outline, draw it on a blank white sheet, or type it on a computer. They were then placed in a brain scanner and shown the image again.
The researchers found that the initial duplication process mattered a great deal. When children had drawn a letter freehand, they exhibited increased activity in three areas of the brain that are activated in adults when they read and write: the left fusiform gyrus, the inferior frontal gyrus and the posterior parietal cortex.
By contrast, children who typed or traced the letter or shape showed no such effect. The activation was significantly weaker.
Dr. James attributes the differences to the messiness inherent in free-form handwriting: Not only must we first plan and execute the action in a way that is not required when we have a traceable outline, but we are also likely to produce a result that is highly variable.
That variability may itself be a learning tool. “When a kid produces a messy letter,” Dr. James said, “that might help him learn it.”
Photo


Karin James, a psychologist at Indiana University, used a scanner to see how handwriting affected activity in children’s brains.  Credit A. J. Mast for The New York Times  
Our brain must understand that each possible iteration of, say, an “a” is the same, no matter how we see it written. Being able to decipher the messiness of each “a” may be more helpful in establishing that eventual representation than seeing the same result repeatedly.
“This is one of the first demonstrations of the brain being changed because of that practice,” Dr. James said.
In another study, Dr. James is comparing children who physically form letters with those who only watch others doing it. Her observations suggest that it is only the actual effort that engages the brain’s motor pathways and delivers the learning benefits of handwriting.
The effect goes well beyond letter recognition. In a study that followed children in grades two through five, Virginia Berninger, a psychologist at the University of Washington, demonstrated that printing, cursive writing, and typing on a keyboard are all associated with distinct and separate brain patterns — and each results in a distinct end product. When the children composed text by hand, they not only consistently produced more words more quickly than they did on a keyboard, but expressed more ideas. And brain imaging in the oldest subjects suggested that the connection between writing and idea generation went even further. When these children were asked to come up with ideas for a composition, the ones with better handwriting exhibited greater neural activation in areas associated with working memory — and increased overall activation in the reading and writing networks.
It now appears that there may even be a difference between printing and cursive writing — a distinction of particular importance as the teaching of cursive disappears in curriculum after curriculum. In dysgraphia, a condition where the ability to write is impaired, sometimes after brain injury, the deficit can take on a curious form: In some people, cursive writing remains relatively unimpaired, while in others, printing does.


Samples of handwriting by young children. Dr. James found that when children drew a letter freehand, they exhibited increased activity in three significant areas of the brain, which didn’t happen when they traced or typed the letter.  Credit Karin James 
In alexia, or impaired reading ability, some individuals who are unable to process print can still read cursive, and vice versa — suggesting that the two writing modes activate separate brain networks and engage more cognitive resources than would be the case with a single approach.
Dr. Berninger goes so far as to suggest that cursive writing may train self-control ability in a way that other modes of writing do not, and some researchers argue that it may even be a path to treating dyslexia. A 2012 review suggests that cursive may be particularly effective for individuals with developmental dysgraphia — motor-control difficulties in forming letters — and that it may aid in preventing the reversal and inversion of letters.
Cursive or not, the benefits of writing by hand extend beyond childhood. For adults, typing may be a fast and efficient alternative to longhand, but that very efficiency may diminish our ability to process new information. Not only do we learn letters better when we commit them to memory through writing, memory and learning ability in general may benefit.
Two psychologists, Pam A. Mueller of Princeton and Daniel M. Oppenheimer of the University of California, Los Angeles, have reported that in both laboratory settings and real-world classrooms, students learn better when they take notes by hand than when they type on a keyboard. Contrary to earlier studies attributing the difference to the distracting effects of computers, the new research suggests that writing by hand allows the student to process a lecture’s contents and reframe it — a process of reflection and manipulation that can lead to better understanding and memory encoding.
Not every expert is persuaded that the long-term benefits of handwriting are as significant as all that. Still, one such skeptic, the Yale psychologist Paul Bloom, says the new research is, at the very least, thought-provoking.
“With handwriting, the very act of putting it down forces you to focus on what’s important,” he said. He added, after pausing to consider, “Maybe it helps you think better.”

Maria Konnikova is a contributing writer for The New Yorker online and the author of “Mastermind: How to Think Like Sherlock Holmes.
17.08.14/18:37/ 143
mughalshit:

Woman on a Terrace
India, Mughal, circa 1775
Opaque watercolors and gold on paper
15.06.14/18:50/ 164
whataboutbobbed:

The New Yorker - May 29, 1926
29.05.14/15:20/ 241
vitazur:

Elliott - Tristessa
06.05.14/00:05/ 150
crackityjones77:

Big Jim Resale Shop, Chicago, 1968
06.05.14/00:05/ 561
batteredshoes:

John Baldessari
06.05.14/00:05/ 32
06.05.14/00:04/ 286
06.05.14/00:03/ 14
Canvas  by  andbamnan