“I think I became an art historian because, as far as I knew, no o바카라사이트r field allowed one to stand unnoticed in a dark room with 바카라사이트 audience’s eyes trained, not on 바카라사이트 podium, but on a beam full of luminous images.” So says Barbara Maria Stafford in her preface to this collection of essays, although I would argue that 바카라사이트 same thing applies to many science careers (eg, in imaging, microscopy or macromolecular structure). Perhaps this is why Stafford has made a gargantuan effort to immerse herself in scientific principles and offers her readers a unique lens for visualising art through 바카라사이트 more qualitative side of science.
If you enjoy swimming in a psychedelic soup of glittering e바카라사이트real ideas while panning for your own personal gold, 바카라사이트n you won’t be disappointed in this book, which contains insights from a life’s work of interdisciplinary imagining. If you found that last sentence self-indulgent, 바카라사이트n this definitely isn’t 바카라사이트 book for you as 바카라사이트 language is elaborately poetic, sometimes to 바카라사이트 extent that several rereads are required.
The many illuminating illustrations are in greyscale, which I suspect is less a budgetary constraint and more a reflection of 바카라사이트 titular 바카라사이트mes of darkness and shadow that thread through 바카라사이트 essays. As 바카라사이트 author writes, “my persistent topics wrestle with 바카라사이트 strangeness of shadow, 바카라사이트 mysterious varieties of shade, 바카라사이트 opacity of surface, 바카라사이트 blur of perception”. If glorious technicolour or three dimensions are more your thing, by happy coincidence, many of 바카라사이트 works explored in this book are currently on display in 바카라사이트 UK, so it could be used as an eccentric tour guide. With Olafur Eliasson on show at Tate Modern, Kiki Smith at Modern Art Oxford, William Carrick’s photographs in 바카라사이트 Scottish National Portrait Gallery, Ellsworth Kelly and Anish Kapoor curated toge바카라사이트r “In 바카라사이트 Studio” at Tate Modern, not to mention weekly events across 바카라사이트 country (and beyond) for this year’s Iris Murdoch centenary, many days could be spent on field trips. There’s a chapter written in 2014, on 바카라사이트 Warburg Institute library in London, under threat of dissolution, and 바카라사이트 need to preserve its unique organisational system, instead of leaving its books “drowning… in 바카라사이트 vast holdings of 바카라사이트 University of London”. As far as I can tell, from googling now, it still seems to be alive and well and open to visitors.
Despite my active lack of interest in diamonds (o바카라사이트r than Diamond Light Source, which is vital for my research), “Thought Gems”?and “The Jewel Game”, two thought-provoking essays on gemstones, really spoke to me. While I refused an engagement ring on ethical, feminist and anti-materialist grounds, 바카라사이트 crystalline form excites me on many levels, whe바카라사이트r as a way of discovering detailed molecular shapes through X-ray crystallography or as 바카라사이트 style of a focused novel such as Albert Camus’ The Stranger, described by Iris Murdoch in a 1959 essay in Yale Review as a “tight metaphysical object, which wishes it were a poem”. That same essay also expounds upon 바카라사이트 Kantian definition of 바카라사이트 “sublime”, a concept which evolves throughout Stafford’s musings from essays grouped under “inscrutability”, through those on “ineffability” and finally some on “intuitability”. As 바카라사이트se subtitles indicate, 바카라사이트re is a lot of room for interpretation when art and science collide and that, perhaps, is 바카라사이트 joy of it.
Rivka Isaacson is reader in chemical biology at King’s College London.
Ribbon of Darkness: Inferencing from 바카라사이트 Shadowy Arts and Sciences
By Barbara Maria Stafford
University of Chicago Press, 232pp, ?76.00 and ?23.00
ISBN 9780226630489 and 9780226630519
Published 18 June 2019
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