2012年1月19日星期四
what is Art
This article is about the general concept of Art. For the categories of different artistic disciplines, see The arts. For the arts that are visual in nature, see Visual arts. For people named Art, see Arthur. For other uses, see Art (disambiguation).
Art is the product or process of deliberately arranging items (often with symbolic significance) in a way that influences and affects one or more of the senses, emotions, and intellect. It encompasses a diverse range of human activities, creations, and modes of expression, including music, literature, film, photography, sculpture, and paintings. The meaning of art is explored in a branch of philosophy known as aesthetics, whereas disciplines such as anthropology, sociology and psychology analyze its relationship with humans and generations.
Traditionally, the term art was used to refer to any skill or mastery. This conception changed during the Romantic period, when art came to be seen as "a special faculty of the human mind to be classified with religion and science". Generally, art is made with the intention of stimulating thoughts and emotions.
Sculpture
A scale model is a physical model, a representation or copy of an object that is larger or smaller than the actual size of the object, which seeks to maintain the relative proportions (the scale factor) of the physical size of the original object. Very often the scale model is used as a guide to making the object in full size. Scale models are built or collected for many reasons.
Professional modelmakers often create models for many professions:
Engineers who require scale models to test the likely performance of a particular design at an early stage of development without incurring the full expense of a full-sized prototype.
Architects who require architectural models to evaluate and sell the look of a new construction before it is built.
Filmmakers who require scale models of objects or sets that cannot be built in full size.
Salesmen who require scale models to promote new products such as heavy equipment and automobiles and other vehicles.
Hobbyists or amateur modelmakers make die-cast models, injection molded, model railroads, remote control vehicles, wargaming and fantasy collectibles, model ships and ships in bottles for their own enjoyment.
Scale models can also be objects of art, either being created by artists or being rediscovered and transformed into art by artists.
Types of sculpture
Some common forms of sculpture are:
Free-standing sculpture, sculpture that is surrounded on all sides, except the base, by space. It is also known as sculpture "in the round", and is meant to be viewed from any angle.
Sound sculpture
Light sculpture
Jewellery or Jewelry
Relief – the sculpture is attached to a background; types are bas-relief, alto-relievo, and sunken-relief
Site-specific art
Kinetic sculpture – involves aspects of physical motion Fountain – the sculpture is designed with moving water
Mobile (see also Calder's Stabiles.)
Statue – representationalist sculpture depicting a specific entity, usually a person, event, animal or object Bust – representation of a person from the chest up
Equestrian statue – typically showing a significant person on horseback
Stacked art – a form of sculpture formed by assembling objects and 'stacking' them
Architectural sculpture
Environmental art Environmental sculpture
Land art
Materials of sculpture through history
The materials used in sculpture are diverse, changing throughout history. Sculptors have generally sought to produce works of art that are as permanent as possible, working in durable and frequently expensive materials such as bronze and stone: marble, limestone, porphyry, and granite. More rarely, precious materials such as gold, silver, jade, and ivory were used for chryselephantine works. More common and less expensive materials were used for sculpture for wider consumption, including glass, hardwoods (such as oak, box/boxwood, and lime/linden); terracotta and other ceramics, and cast metals such as pewter and zinc (spelter).
Sculptures are often painted, but commonly lose their paint to time, or restorers. Many different painting techniques have been used in making sculpture, including tempera, [oil painting], gilding, house paint, aerosol, enamel and sandblasting.
Many sculptors seek new ways and materials to make art. One of Pablo Picasso's most famous sculptures included bicycle parts. Alexander Calder and other modernists made spectacular use of painted steel. Since the 1960s, acrylics and other plastics have been used as well. Andy Goldsworthy makes his unusually ephemeral sculptures from almost entirely natural materials in natural settings. Some sculpture, such as ice sculpture, sand sculpture, and gas sculpture, is deliberately short-lived. A vast array of sculptors including Joan Miró, Marcel Duchamp, Yves Klein, John Chamberlain, Jean Tinguely, Richard Stankiewicz, Larry Bell, Carl Andre, Louise Bourgeois and others used glass, stained glass, automobile parts, tools, machine parts, and hardware to fashion their works.
Sculptors often build small preliminary works called maquettes of ephemeral materials such as plaster of Paris, wax, clay, or plasticine, as Alfred Gilbert did for 'Eros' at Piccadilly Circus, London. In Retroarchaeology, these materials are generally the end product.
Sculptors sometimes use found objects.
Clay Sculpture
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Dawu Clay Sculpture , is a famous folk art in Chaozhou, Guangdong Province.It is called "Three Chinese clay culpture" with Clay Figure Zhang and Xihui mountain clay.
History
It has a history of more than 700 years, Qing Dynasty is the most prosperous time of Dawu Clay Sculpture.
Artistic Attractiveness
Styles of makeup in drama is one of the main breeds of Dawu Clay Sculpture, another main breed is the whole body of character of drama.
Physical model
A physical model (most commonly referred to simply as a model, however in this sense it is distinguished from a conceptual model) is a smaller or larger physical copy of an object. The object being modelled may be small (for example, an atom) or large (for example, the Solar System).
The geometry of the model and the object it represents are often similar in the sense that one is a rescaling of the other; in such cases the scale is an important characteristic. However, in many cases the similarity is only approximate or even intentionally distorted. Sometimes the distortion is systematic with e.g. a fixed scale horizontally and a larger fixed scale vertically when modelling topography of a large area (as opposed to a model of a smaller mountain region, which may well use the same scale horizontally and vertically, and show the true slopes).
Physical models allow visualization, from examining the model, of information about the thing the model represents. A model can be a physical object such as an architectural model of a building. Uses of an architectural model include visualization of internal relationships within the structure or external relationships of the structure to the environment. Other uses of models in this sense are as toys.
Instrumented physical models are the most effective way of investigating fluid flows such as around hydraulic structures. These models are scaled in terms of both geometry and important forces, for example using Froude number or Reynolds number scaling (see Similitude).
A physical model of something large is usually smaller, and of something very small is larger. A physical model of something that can move, like a vehicle or machine, may be completely static, or have parts that can be moved manually, or be powered. A physical model may show inner parts that are normally not visible. The purpose of a physical model on a smaller scale may be to have a better overview, for testing purposes, as hobby or toy. The purpose of a physical model on a larger scale may be to see the structure of things that are normally too small to see properly or to see at all, for example a model of an insect or of a molecule.
A physical model of an animal shows the animals physical composition without it walking or flying away, and without danger, and if the real animal is not available. A soft model of an animal is popular among children and some adults as cuddly toy.
A model of a person may e.g. be a doll, a statue, and in fiction a robotic humanoid, e.g. the mechas in the movie A.I..
A model is a 3D alternative for a 2D representation such as a drawing or photograph, or in the case of a globe, a 3D, undistorted alternative for a flat world map.
Embroidery
Embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins. Embroidery is most often recommended for caps, hats, coats, blankets, dress shirts, denim, stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn color.
A characteristic of embroidery is that the basic techniques or stitches of the earliest work—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.
Machine embroidery, arising in the early stages of the Industrial Revolution, mimics hand embroidery, especially in the use of chain stitches, but the "satin stitch" and hemming stitches of machine work rely on the use of multiple threads and resemble hand work in their appearance, not their construction.
Chinese painting
Chinese painting is one of the oldest continuous artistic traditions in the world. The earliest paintings were not representational but ornamental; they consisted of patterns or designs rather than pictures. Early pottery was painted with spirals, zigzags, dots, or animals. It was only during the Warring States Period (475-221 BC) that artists began to represent the world around them.
Painting in the traditional style is known today in Chinese as guó huà (国画), meaning 'national' or 'native painting', as opposed to Western styles of art which became popular in China in the 20th century. Traditional painting involves essentially the same techniques as calligraphy and is done with a brush dipped in black or colored ink; oils are not used. As with calligraphy, the most popular materials on which paintings are made of are paper and silk. The finished work can be mounted on scrolls, such as hanging scrolls or handscrolls. Traditional painting can also be done on album sheets, walls, lacquerware, folding screens, and other media.
The two main techniques in Chinese painting are:
Meticulous - Gong-bi (工筆) often referred to as "court-style" painting
Freehand - Shui-mo (水墨) loosely termed watercolour or brush painting. The Chinese character "mo" means ink and "shui" means water. This style is also referred to as "xie yi" (寫意) or freehand style.
Artists from the Han (202 BC) to the Tang (618–906) dynasties mainly painted the human figure. Much of what we know of early Chinese figure painting comes from burial sites, where paintings were preserved on silk banners, lacquered objects, and tomb walls. Many early tomb paintings were meant to protect the dead or help their souls get to paradise. Others illustrated the teachings of the Chinese philosopher Confucius, or showed scenes of daily life.
Many critics consider landscape to be the highest form of Chinese painting. The time from the Five Dynasties period to the Northern Song period (907–1127) is known as the "Great age of Chinese landscape". In the north, artists such as Jing Hao, Fan Kuan, and Guo Xi painted pictures of towering mountains, using strong black lines, ink wash, and sharp, dotted brushstrokes to suggest rough stone. In the south, Dong Yuan, Juran, and other artists painted the rolling hills and rivers of their native countryside in peaceful scenes done with softer, rubbed brushwork. These two kinds of scenes and techniques became the classical styles of Chinese landscape painting.
Watercolor painting
Watercolor (US) or watercolour (UK and Commonwealth), also aquarelle from French, is a painting method. A watercolor is the medium or the resulting artwork in which the paints are made of pigments suspended in a water-soluble vehicle. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China
color pencil
A pencil is a writing implement or art medium usually constructed of a narrow, solid pigment core inside a protective casing. The case prevents the core from breaking, and also from marking the user’s hand during use.
Pencils create marks via physical abrasion, leaving behind a trail of solid core material that adheres to a sheet of paper or other surface. They are noticeably distinct from pens, which dispense liquid or gel ink that stain the light colour of the paper.
Most pencil cores are made of graphite mixed with a clay binder, leaving grey or black marks that can be easily erased. Graphite pencils are used for both writing and drawing, and the result is durable: although writing can usually be removed with an eraser, it is resistant to moisture, most chemicals, ultraviolet radiation and natural ageing. Other types of pencil core are less widely used. Charcoal pencils are mainly used by artists for drawing and sketching. Coloured pencils are sometimes used by teachers or editors to correct submitted texts but are more usually regarded as art supplies, especially those with waxy core binders that tend to smear on paper instead of erasing. Grease pencils have a softer crayon-like waxy core that can leave marks on smooth surfaces such as glass or porcelain.
The most common type of pencil casing is a thin wooden cylinder permanently bonded around the core. Similar permanent casings may be constructed of other materials such as plastic or paper. In order to use the pencil, the casing must be carved or peeled off to expose the working end of the core as a sharp point. Mechanical pencils have more elaborate casings that support mobile pieces of pigment core, which can be extended or retracted through the casing tip as needed.
panting
Painting is the practice of applying paint, pigment, color or other medium[1] to a surface (support base). The application of the medium is commonly applied to the base with a brush but other objects can be used. In art, the term painting describes both the act and the result of the action. However, painting is also used outside of art as a common trade among craftsmen and builders. Paintings may have for their support such surfaces as walls, paper, canvas, wood, glass, lacquer, clay, copper or concrete, and may incorporate multiple other materials including sand, clay, paper, gold leaf as well as objects.
Painting is a mode of expression and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature.
A portion of the history of painting in both Eastern and Western art is dominated by spiritual motifs and ideas; examples of this kind of painting range from artwork depicting mythological figures on pottery to Biblical scenes rendered on the interior walls and ceiling of The Sistine Chapel, to scenes from the life of Buddha or other scenes of eastern religious origin.
Modern art
From Wikipedia, the free encyclopedia
Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency toward abstraction is characteristic of much modern art. More recent artistic production is often called Contemporary art or Postmodern art.
Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Henri Matisse's two versions of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Initially influenced by Toulouse Lautrec, Gauguin and other late 19th century innovators Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.[citation needed]
The notion of modern art is closely related to Modernism.
imformation from
http://en.wikipedia.org/wiki/Modern_art
Form follows function
Form follows function is one of the long-standing slogans of modern architecture. Its use was pioneered by turn-of-the-century skyscraper architect Louis Sullivan, complemented by Adolf Loos's 1908 assertion that 'Ornament is crime', adapted by Frank Lloyd Wright and adopted by Modernists and Bauhaus desginers such as Mies van der Rohe ('Less is more'), Walter Groupius etc. Originally meant to be defiantly honest – let the form of a building or product result from its function and no more – and anti-style, it eventually evolved into yet another set of un-interrogated conventions, and is now being both challenged and re-worked.
imformation form
http://www.articleworld.org/index.php/Form_follows_function
imformation form
http://www.articleworld.org/index.php/Form_follows_function
Function follows form
Form follows function is a principle associated with modern architecture and industrial design in the 20th century. The principle is that the shape of a building or object should be primarily based upon its intended function or purpose.
Is ornamentation "functional"?
In 1908 the Austrian architect Adolf Loos famously proclaimed that architectural ornament was criminal, and his essay on that topic would become foundational to Modernism and eventually trigger the careers of Le Corbusier, Walter Gropius, Alvar Aalto, Mies van der Rohe and Gerrit Rietveld. The Modernists adopted both of these equations—form follows function, ornament is a crime—as moral principles, and they celebrated industrial artifacts like steel water towers as brilliant and beautiful examples of plain, simple design integrity.
These two principles—form follows function, ornament is crime—are often invoked on the same occasions for the same reasons, but they do not mean the same thing. If ornament on a building may have social usefulness like aiding wayfinding, announcing the identity of the building, signaling scale, or attracting new customers inside, then ornament can be seen as functional, which puts those two articles of dogma at odds with each other.
Conversely the argument "ornament is crime" does not say anything about function. It is an aesthetic preference inspired by the Machine Age. While human performance may be enhanced by a sense of well-being endowed by aesthetic pleasure, machines have no such need of beauty to perform their work tirelessly. Ornament becomes an unnecessary relic, or worse, an impediment to optimal engineering design and equipment maintenance. Other stylistic "non-functional" features may rest untouched (e.g., the feeling of space, the composition of the volumes) as we can see in the subsequent abstracted and non-ornamented styles. Much of the confusion between these two concepts comes from the fact that ornament traditionally derives from a function becoming a stylistic character (e.g., the gargoyle from Gothic cathedrals).
Modernism in architecture began as a disciplined effort to allow the shape and organization of a building to be determined only by functional requirements, instead of by traditional aesthetic concepts. It assumes that the designer will determine empirically (or decide arbitrarily) what is or is not a functional requirement. The resulting architecture tended to be shockingly simpler, flatter, and lighter than its older neighbors, possibly due to the limited number of functional requirements upon which the designs were based; their functionality and refreshing nakedness looked as honest and inevitable as an airplane. Modernists believed, perhaps incorrectly, that airplane design did not involve any aesthetic decisions by the airplane designers. A recognizable Modern vocabulary began to develop.
imformation from
http://en.wikipedia.org/wiki/Form_follows_function
Is ornamentation "functional"?
In 1908 the Austrian architect Adolf Loos famously proclaimed that architectural ornament was criminal, and his essay on that topic would become foundational to Modernism and eventually trigger the careers of Le Corbusier, Walter Gropius, Alvar Aalto, Mies van der Rohe and Gerrit Rietveld. The Modernists adopted both of these equations—form follows function, ornament is a crime—as moral principles, and they celebrated industrial artifacts like steel water towers as brilliant and beautiful examples of plain, simple design integrity.
These two principles—form follows function, ornament is crime—are often invoked on the same occasions for the same reasons, but they do not mean the same thing. If ornament on a building may have social usefulness like aiding wayfinding, announcing the identity of the building, signaling scale, or attracting new customers inside, then ornament can be seen as functional, which puts those two articles of dogma at odds with each other.
Conversely the argument "ornament is crime" does not say anything about function. It is an aesthetic preference inspired by the Machine Age. While human performance may be enhanced by a sense of well-being endowed by aesthetic pleasure, machines have no such need of beauty to perform their work tirelessly. Ornament becomes an unnecessary relic, or worse, an impediment to optimal engineering design and equipment maintenance. Other stylistic "non-functional" features may rest untouched (e.g., the feeling of space, the composition of the volumes) as we can see in the subsequent abstracted and non-ornamented styles. Much of the confusion between these two concepts comes from the fact that ornament traditionally derives from a function becoming a stylistic character (e.g., the gargoyle from Gothic cathedrals).
Modernism in architecture began as a disciplined effort to allow the shape and organization of a building to be determined only by functional requirements, instead of by traditional aesthetic concepts. It assumes that the designer will determine empirically (or decide arbitrarily) what is or is not a functional requirement. The resulting architecture tended to be shockingly simpler, flatter, and lighter than its older neighbors, possibly due to the limited number of functional requirements upon which the designs were based; their functionality and refreshing nakedness looked as honest and inevitable as an airplane. Modernists believed, perhaps incorrectly, that airplane design did not involve any aesthetic decisions by the airplane designers. A recognizable Modern vocabulary began to develop.
imformation from
http://en.wikipedia.org/wiki/Form_follows_function
less is more and more is less
Less is more
Meaning
The notion that simplicity and clarity lead to good design.
Origin
This is a 19th century proverbial phrase. It is first found in print in Andrea del Sarto, 1855, a poem by Robert Browning:
Who strive - you don't know how the others strive
To paint a little thing like that you smeared
Carelessly passing with your robes afloat,-
Yet do much less, so much less, Someone says,
(I know his name, no matter) - so much less!
Well, less is more, Lucrezia.
The phrase is often associated with the architect and furniture designer Ludwig Mies Van Der Rohe (1886-1969), one of the founders of modern architecture and a proponent of simplicity of style.
Less Is More, More Is Less
Here are some general thoughts as to what the game plan could or should be as the Fed unveils any number of options regarding interest on reserves or operation twist or other.
I think it is important to inject simplicity into the machinations of debates and outcomes of prospective policy outcomes by the Fed and the perceived impacts on markets.
As a rule, I perceive asset purchases, twisted portfolio tweaks, and other maneuvers as tacit forms of “stimulus”. If one had to align an activity in a “stimulus” or “easing” column versus a “tightening” or “contracting” column, I would place recent Fed buybacks, SOMA, asset purchases, saber rattling, and prospective twists more clearly in the “easing” column.
Traditional rudimentary easings are long gone and used to be composed of mere rate cuts and rate hikes of funds or discount rates. Unparalled in history is recent creative stimulus developments in the form of asset purchases like buying bonds. However, the marketplace in recent memory has had to contemplate the TECHNICAL consideration and extrapolate what it means for an official entity to actually physically purchase or target an instrument or instruments like bonds or bond purchases. The technical extrapolation of such would yield certain obvious conclusions, like extrapolated rate forecasts of 1% yields. Estimates. Unprecedented.
However, I urge one to step back from the micro technically extrapolated trees and to look at the macro policy impacted forest. In some ways, there have been distractions and distortions of “micro” policy gimmicks which have blurred more traditional macro themes which I think may warrant greater emphasis.
Generally speaking value propositions in bonds are marked by steadfast central banking. Vigilant Chairman’s (not vigilantes), salty dogs, Bundesbank like revile for the impacts of inflation on society and fixed purchasing power like bonds yields. Easings from Chairman may be bad for an asset that a Chairman has a mandate to protect. Recall DUAL mandate of promoting full employment and stable prices. Also, recall the former TRIPLE mandate of moderate long term interest rates. That has already been abandoned and some how the charter has changed.
There has been considerable discussion recently of “targeting” metrics like employment or inflation and linkages of such to additional or continual monetary policy activity. I can’t help but to think that the Fed is aspiring for cover by potentially abandoning or prioritizing AWAY from their inflation mandate more towards the benefit of the full employment mandate benefit. This is clearly controversial debate that I dare elevate such a concept.
Another concept that can be debated as it applies to policy is that less is more and more is less. And that markets live in a world of opposites valuation schematic. More push on policy monetary easings is ultimately worse for the targeted valuations and less monetary spigot ensures the ultimate preservation of such assets.
Again, what does this all mean? It means that similar to the infamous period formerly known as QE2, the market focused on perceived rate benefits (lower) of the belly of the yield curve (the supposed targeted tenor of policy purchases) and yet were overwhelmed by some other technical or macro valuation outcome. In the fourth quarter of last year, I kindly remind you that the belly of the curve, the supposed target of asset purchases, cheapened in record fashion on a standard deviation basis to the long end of the market, something which bucked or countered the prevailing technical or extrapolated view.
inforemation from
http://www.phrases.org.uk/
http://www.zerohedge.com/
Meaning
The notion that simplicity and clarity lead to good design.
Origin
This is a 19th century proverbial phrase. It is first found in print in Andrea del Sarto, 1855, a poem by Robert Browning:
Who strive - you don't know how the others strive
To paint a little thing like that you smeared
Carelessly passing with your robes afloat,-
Yet do much less, so much less, Someone says,
(I know his name, no matter) - so much less!
Well, less is more, Lucrezia.
The phrase is often associated with the architect and furniture designer Ludwig Mies Van Der Rohe (1886-1969), one of the founders of modern architecture and a proponent of simplicity of style.
Less Is More, More Is Less
Here are some general thoughts as to what the game plan could or should be as the Fed unveils any number of options regarding interest on reserves or operation twist or other.
I think it is important to inject simplicity into the machinations of debates and outcomes of prospective policy outcomes by the Fed and the perceived impacts on markets.
As a rule, I perceive asset purchases, twisted portfolio tweaks, and other maneuvers as tacit forms of “stimulus”. If one had to align an activity in a “stimulus” or “easing” column versus a “tightening” or “contracting” column, I would place recent Fed buybacks, SOMA, asset purchases, saber rattling, and prospective twists more clearly in the “easing” column.
Traditional rudimentary easings are long gone and used to be composed of mere rate cuts and rate hikes of funds or discount rates. Unparalled in history is recent creative stimulus developments in the form of asset purchases like buying bonds. However, the marketplace in recent memory has had to contemplate the TECHNICAL consideration and extrapolate what it means for an official entity to actually physically purchase or target an instrument or instruments like bonds or bond purchases. The technical extrapolation of such would yield certain obvious conclusions, like extrapolated rate forecasts of 1% yields. Estimates. Unprecedented.
However, I urge one to step back from the micro technically extrapolated trees and to look at the macro policy impacted forest. In some ways, there have been distractions and distortions of “micro” policy gimmicks which have blurred more traditional macro themes which I think may warrant greater emphasis.
Generally speaking value propositions in bonds are marked by steadfast central banking. Vigilant Chairman’s (not vigilantes), salty dogs, Bundesbank like revile for the impacts of inflation on society and fixed purchasing power like bonds yields. Easings from Chairman may be bad for an asset that a Chairman has a mandate to protect. Recall DUAL mandate of promoting full employment and stable prices. Also, recall the former TRIPLE mandate of moderate long term interest rates. That has already been abandoned and some how the charter has changed.
There has been considerable discussion recently of “targeting” metrics like employment or inflation and linkages of such to additional or continual monetary policy activity. I can’t help but to think that the Fed is aspiring for cover by potentially abandoning or prioritizing AWAY from their inflation mandate more towards the benefit of the full employment mandate benefit. This is clearly controversial debate that I dare elevate such a concept.
Another concept that can be debated as it applies to policy is that less is more and more is less. And that markets live in a world of opposites valuation schematic. More push on policy monetary easings is ultimately worse for the targeted valuations and less monetary spigot ensures the ultimate preservation of such assets.
Again, what does this all mean? It means that similar to the infamous period formerly known as QE2, the market focused on perceived rate benefits (lower) of the belly of the yield curve (the supposed targeted tenor of policy purchases) and yet were overwhelmed by some other technical or macro valuation outcome. In the fourth quarter of last year, I kindly remind you that the belly of the curve, the supposed target of asset purchases, cheapened in record fashion on a standard deviation basis to the long end of the market, something which bucked or countered the prevailing technical or extrapolated view.
inforemation from
http://www.phrases.org.uk/
http://www.zerohedge.com/
le modulor
From Wikipedia, the free encyclopedia
Commemorative Swiss coin showing the modulor.
The Modulor is an anthropometric scale of proportions devised by the Swiss-born French architect Le Corbusier (1887–1965).
It was developed as a visual bridge between two incompatible scales, the Imperial system and the Metric system. It is based on the height of an English man with his arm raised.
It was used as a system to set out a number of Le Corbusier's buildings and was later codified into two books.
History
Le Corbusier developed the Modulor in the long tradition of Vitruvius, Leonardo da Vinci's Vitruvian Man, the work of Leone Battista Alberti, and other attempts to discover mathematical proportions in the human body and then to use that knowledge to improve both the appearance and function of architecture.The system is based on human measurements, the double unit, the Fibonacci numbers, and the golden ratio. Le Corbusier described it as a "range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things."
With the Modulor, Le Corbusier sought to introduce a scale of visual measures that would unite two virtually incompatible systems: the Anglo Saxon foot and inch and the French Metric system. Whilst he was intrigued by ancient civilisations who used measuring systems linked to the human body: elbow (cubit), finger (digit), thumb (inch) etc., he was troubled by the metre as a measure that was a forty-millionth part of the meridian of the earth.
In 1943, in response to the French National Organisation for Standardisation's (AFNOR) requirement for standardising all the objects involved in the construction process, Le Corbusier asked an apprentice to consider a scale based upon a man with his arm raised to 2.20m in height.The result, in August 1943 was the first graphical representation of the derivation of the scale. This was refined after a visit to the Dean of the Faculty of Sciences in Sorbonne on 7 February 1945 which resulted in the inclusion of a golden section into the representation.
Whilst initially the Modulor Man's height was based on a French man's height of 1.75m it was changed to six feet in 1946 because "in English detective novels, the good-looking men, such as policemen, are always six feet tall!" The dimensions were refined to give round numbers and the overall height of the raised arm was set at 2.26m.
Promotion
On the 10 January 1946, Le Corbusier on a visit to New York met with Henry J. Kaiser, an American industrialist whose Kaiser Shipyard had built Liberty Ships during World War Two. Kaiser's project was to build ten thousand new houses a day, but he had changed his mind and decided to build cars instead. During the interview, Le Corbusier sympathised with Kaiser's problems of coordinating the adoption of equipment between the American and English armies because of the differences in units of length and promoted his own harmonious scale.
On the same trip he met with David E. Lilienthal of the Tennessee Valley Authority to promote the use of his harmonious scale on further civil engineering projects.
He also applied the principle of the Modulor to the efficient design of distribution crates in post war France.
Graphic representation
The graphic representation of the Modulor, a stylised human figure with one arm raised, stands next to two vertical measurements, a red series based on the figure's navel height (1.08m in the original version, 1.13m in the revised version) then segmented according to Phi, and a blue series based on the figure's entire height, double the navel height (2.16m in the original version, 2.26m in the revised), segmented similarly. A spiral, graphically developed between the red and blue segments, seems to mimic the volume of the human figure.
imformation from
http://en.wikipedia.org/wiki/Modulor
some drawing in my life_black and white
The old man and the dream 1
201o/ 11
The old man and the dream 2
2011/3
alic
2010/ 12
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