Until one morning, I’ll wake up and find I’m thinking about something else, and then I’ll know the worst is over. My heart might be bruised, but it will recover and became capable of seeing the beauty of life once more. It’s happened before, it will happen again, I’m sure. When someone leaves, it’s because someone else is about to arrive–I’ll find love again.
Originally posted on Ajam Media Collective:
A post written by Asher Kohn, a law student at the Washington University in St. Louis, focusing on the interplay between theories of jurisprudence and land use in Central Asia. Follow Asher on Twitter @AJKhn. For other articles in Ajam’s series on Armenian-Iranians, check out “A Bridge to New Julfa: A Historical Look at the Armenian-Iranian Community of Isfahan” here and “The Bridge to New Julfa: The Golden Age of Isfahani Armenians” here.
Tehran has grown rapidly in the past four decades, subsuming disparate neighborhoods into a (moderately) coherent whole. The Vanak neighborhood of central Tehran holds a fascinating index of place names, as if the urban planner picked them out of his historian older sister’s bookshelf. Vanak Square itself lies at the intersection of Haqqani and Gandhi, hemmed in by boulevards Africa and Brazil. I imagine myself driving a stalwart Samand, taking…
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But this winter, Moleskine is bolstering its 21st-century cred with the publication of
The Detour Book, a collection of the creative journals of present-day artists, designers, and writers. Noted by Brain Pickings’ Maria Popova last week, The Detour Book sounds like one of those tomes that deserves to be poured over:
Scattered across the pages of The Detour Book are the images of over 250 notebooks decorated, hacked, and filled with intimate sketches and drawings by some of the world’s most celebrated creative professionals; among them architects, designers, film directors and musicians including Spike Jonze, Sigur Ros, Mary Ellen Mark and Karim Rashid, to name a few.
There are funny little cartoons from Dave Eggers and brilliant sketches from Toyo Ito, which show the Mikimoto building taking over Ginza. Each book is its own unique archive, preserving the struggle to bring a spark of an idea to fruition.
What’s interesting about the collection is that most people don’t use Moleskines as traditional sketchbooks at all. Instead, designers like Tord Boontje have used them as 3-D objects, slicing through their eggshell pages and hacking them into study models. ATELYE 70, the Turkish architecture studio, turned the fold-out pages of a Moleskine Pocket Accordion into an actual architectural model, inserting plexiglass staircases and scale models between the folds. http://bit.ly/V8wi6W
The Detour Book is one of those rare pieces of marketing that rewards a company and the consumer equally. It’s marvelously fun reading. And who can blame Moleskine for being proud? Buy your copy here.
This gallery contains 10 photos
When LIFE magazine’s Gjon Mili, a technical prodigy and lighting innovator, visited Pablo Picasso in the South of France in 1949, it was clear that the meeting of these two artists and craftsmen was bound to result in something extraordinary. Mili showed Picasso some of his photographs of ice skaters with tiny lights affixed to their skates, jumping in the dark — and the Spanish genius’s lively, ever-stirring mind began to race.
“Picasso” LIFE magazine reported at the time, “gave Mili 15 minutes to try one experiment. He was so fascinated by the result that he posed for five sessions, projecting 30 drawings of centaurs, bulls, Greek profiles and his signature. Mili took his photographs in a darkened room, using two cameras, one for side view, another for front view. By leaving the shutters open, he caught the light streaks swirling through space.”
This series of photographs, known ever since as Picasso’s “light drawings,” were made with a small electric light in a darkened room; in effect, the images vanished as soon as they were created — and yet they still live, six decades later, in Mili’s playful, hypnotic images. Many of them were also put on display in early 1950 in a show at New York’s Museum of Modern Art.
Finally, while the “Picasso draws a centaur in the air” photo that leads off this gallery is rightly celebrated, many of the images in this gallery are far less well-known — in fact, many of them never ran in the magazine — but they are no less thrilling, after all these years, than the iconic picture of the archetypal creative genius of the 20th century crafting, on the fly, a fleeting (albeit captured forever on film) work of art.