encyclopedia @meeks205

visual diary Joined June 2010

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Meditations in Color @MeditateColor

2 weeks ago

Alexander Calder, Jacques Prévert, Fêtes. 1971. Color aquatints and letterpress.

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Simone Conradi @S_Conradi

2 weeks ago

Maybe the final one... maybe... Made with #python #numpy #matplotlib #numba #builtWithMarimo

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We’re releasing a broad range of new mathematical results produced by an internal frontier model. We’ve been consulting with the independent Advisory Group on Mathematics and Artificial Intelligence at the Institute for Advanced Study, and we have drawn on their advice and

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the culture | magazine @galactamelanin

3 weeks ago

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rosa ✧ mundi @rosaxmundi

3 weeks ago

Detail of various Angels in the works of Giotto di Bondone, The Lamentation (The Mourning of Christ) is a foundational masterpiece of proto-Renaissance art painted around 1304–1306

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Art Encyclopedia @artenpedia

3 weeks ago

Albrecht Dürer - Hirschkäfer (1505)

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Einar Baldvin @Einarbaldvii

4 weeks ago

'Saint Helena holding the True Cross.' From the Rothschild Prayerbook (c. 1505–1510)

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lucía ٠࣪⭑ @lookenue

6 months ago

Les Nubians - Makeda (1998)

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Einar Baldvin @Einarbaldvii

4 weeks ago

Sleeping Beauty's Castle by Trina Schart Hyman

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Arena.ai @arena

4 weeks ago

We analyzed how @claudeai’s Opus 5.5 writes compared with Opus 5 across high-reasoning Text Arena outputs. 10 of 12 writing measures moved in a better direction. Opus 5.5 should be easier to read: - Long content words fall from 41.7% to 38.6%, the lowest share of any Claude model we analyzed. - Sentences are 17% shorter on average, dropping from 12.14 to 10.03 words. The tradeoff is length. Answers get 6% wordier, rising from 453 to 481 words on average, making Opus 5.5 give the longest answers across the Opus family. It also sounds less recognizably AI on two familiar tells: - 95% fewer em dashes - 73% fewer semicolons But a new giveaway may be emerging. Hedges and caveats such as “perhaps” and “arguably” rise 97%, from 0.39 to 0.77 per 1,000 words, the highest rate of any Claude model we analyzed. What do you think: does Opus 5.5 read more naturally?

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The Public Domain Review @PublicDomainRev

4 weeks ago

Born #onthisday in 1641, the very aptly-named Nehemiah Grew — an English botanist who was the first to depict the inner structure and function of plants in all their splendorous intricacy. ⠀ More of his images here: publicdomainreview.org/collection/neh… #otd

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Anna @AnnasXechoes

4 weeks ago

Gm👁️💙👁️

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Einar Baldvin @Einarbaldvii

4 weeks ago

Allegory of Chastity (also called Allegory with a Virgin) Hans Memling. c .1479–1480

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Ryan @Ryankiis

a month ago

A diss track banger

Ryan @Ryankiis

a month ago

This music masterpiece is too epic 🤩

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Solas @solas_na_greine

a month ago

Anonymous, Agony in the Garden (c. 1405-1408)

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Meditations in Color @MeditateColor

a month ago

Paul Reynard, Banners on canvas. 1974-76.

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Meditations in Color @MeditateColor

a month ago

László Moholy-Nagy, Construction. 1922. With color studies.

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Meditations in Color @MeditateColor

a month ago

Berenice Sydney is a fascinatingly overlooked figure. She was born in London in 1944 and died at only 39, but left behind an unusually large body of paintings, prints, drawings and sculpture. She exhibited internationally during her lifetime, including at the ICA in London. What is especially interesting about works like Green Sun (1968) is that Sydney repeatedly returned to circles, spirals, radiating lines and movement. Dance was important to her, and these recurring structures often grew from ideas of bodies moving through space rather than from purely geometric abstraction. For these color studies, that makes the palette especially good to pull apart. The painting is built from a surprisingly tight vocabulary of hot reds and oranges against blue, purple, green and near-black, repeated across those radiating forms until color itself becomes part of the movement.

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Meditations in Color @MeditateColor

a month ago

These patterns are over 3,300 years old, but the colors we see were recorded in the 20th century. Nina de Garis Davies copied the ceiling of the Tomb of Nebamun and Ipuky at full scale, part of an extraordinary effort to preserve Egyptian paintings whose colors were already disappearing. The colors weren’t modern interpretations. Davies carefully matched what survived on the tomb walls, even developing a technique to reproduce their matte color and brushwork as faithfully as possible.