aesthetics of joy

Color doesn’t have to be poured out by the gallon to create a sense of joy. In fact, it’s often better in small doses, as in these works by Ethan Greenbaum. When people say “good fences make good neighbors,” maybe this is what they have in mind.

There’s also a human equivalent. I’ve featured in the past the kooky performance art of Companie Willi Dorner, a troupe of artists who wear brightly colored clothes and then squeeze themselves into tight urban spaces. I recently came across these images, which I hadn’t seen before, of a performance they did in New York last year.

Against a field of grey, color means more. It is a spark of something that has its own energy, something dynamic that has the potential to erupt, to bring more color. As Johannes Itten, father of contemporary color theory, put it: “Color is life: for a world without colors appears to us as dead.” Color, even in tiny doses, signals a desire for life.

Images: Ethan Greenbaum via the artist. Companie Willi Dorner via WSJ.

Ok, all you development people out there, here’s one to think about when you just can’t fathom picking up the phone to make one more “Help our cause” call. Own A Colour is a campaign to raise money for Unicef by naming colors in exchange for a donation. The donation for a color starts at 1£, but with 16.7 million colors available (the number that can be displayed by a contemporary computer screen) you can see how this could really add up.

Not only is the interface captivating, drawing on a tessellation motif that calls to mind the fragmented view through a kaleidoscope, but also I find the storytelling to be extremely well done. Using a mix of ordinary people and celebrities, the tiles are explained as they are named and claimed. Reading the stories, I’m reminded of this project, which also explores the interplay of color and memory, of the personal significance of a hue.

And while I know infographics are all the rage, and some of us may be getting a bit sick of them, I like this snapshot (below) as a way of navigating the color landscape. There’s something wonderful about seeing the different arrays of trending colors and random colors, and the color choices of different nationalities.

I’ve been talking a lot about generosity lately, about the idea that many things we find joyful are generous in some way, and I find this a great example because even though they’re asking for money, it still feels generous. I feel like I’m being given a world of color to explore and participate in. It makes me want to give. So let me get on that, and I hope you will too. Share a link to the colors you choose in the comments, or on Twitter!

If you haven’t seen E.chromi, you’re in for a treat. A collaboration between designers and scientists, E.chromi is an exploration in an emerging field called synthetic biology. Led by designers Alexandra Daisy Ginsburg and James King, seven Cambridge undergraduates spent a summer designing new kinds of bacteria – ones that change color in response to their surroundings, creating a kind of chromatic diagnostic tool that can detect pollutants and diseases.

We don’t often think about science as designable, and if we do, it’s usually about genetically modified produce that has sinister implications. Perhaps E.chromi will suggest another point of view, illustrating a way that biology can work with design to produce valuable new tools for society. As part of the project, the E.Chromi team envisioned present and future applications for their color-changing bacteria. These ranged from a straightforward set of detectors for pollutants in water supplies to a line of cultured yogurt drinks that indicate wellness or disease by changing the color of the user’s excrement. (Poo is not usually an aesthetic of joy, but maybe in the future?)

I love the thought of design bringing color to new places, particularly the redoubtable world of doctor’s offices and hospitals. With colorful indicator bacteria, medical tests may not be less anxiety-producing, but they at least could be de-mystified and brought out into the open. Perhaps their beauty might be some sort of salve, or at least feel more sympathetic than a line on a lab report. For preventative conditions, they might also be more clear and motivating; if high cholesterol resulted in a brown petrie dish, but low cholesterol turned things a cheery orange, maybe people would be just a little more inspired to cut back on the saturated fats.

Every application I can devise for E.chromi makes its substrate just a bit more joyful, not to mention useful. You could imagine E.chromi in the soil of houseplants, a slight tinge that would indicate the right water levels and condition of the plants. Dunking fresh fruits and vegetables in a bath of E.chromi might show you whether your produce had been sprayed with pesticides, and help you see where they are to better wash them off. People with food allergies might be able to use a fine mist of an E.chromi spray on their food before eating it (especially relevant for schools, with the rise in allergic children).

There’s design in the applications, but also the molecules themselves. The DNA sequences are composed of BioBricks, which serve different purposes in expression of the genes. One unit is a detector, which is calibrated by a sensitivity tuner that determines thresholds for the final brick, a color generator that turns the production of pigment on and off. I know it is more complex than this, but the description makes it feel akin to building a house or stacking Legos, and I find myself marveling at the range of scales on which design can impact our lives. From the tiniest microbes to the largest structures, the same processes and even the same aesthetics are at work.

What would you do with E.chromi? Does it make you feel joyful, or is it scary to you? Please share your thoughts in the comments.

These last few weeks I’ve been steeped in color. Literally, with the effusion of bright summer hues in the city, and figuratively, as I’ve been devoting many a spare moment to researching it. Color is the subject of chapter two and, as evidenced by the colorful nature of this blog, a nearly endless topic when considering design and joy.

Right now I’m reading a very thoughtful, scientific little book from the 1980s called Colour: Why the World Isn’t Grey, which covers everything from why rainbows appear to why flames are orange to why the sky is blue. As the author Hazel Rossotti demystifies these phenomena, she’s reminding me that some color seems particularly mysterious.

Intangible color – the color of the horizon, of an oil slick on a rain puddle, of a match-strike – has a trickiness to it. We perceive the color, but it is either too distant, too evanescent, or too changeable to feel certain in our impressions. The color feels deceptive, yet tantalizing. Though we know that pursuing it will leave us empty-handed, sometimes we go after it anyway. Like burying one’s nose in a magnolia flower only to find the thrum of fragrance all around, but pale within, we find our rainbows and sunsets accessible only from afar. I suppose we should feel grateful that their photons journeyed such a long way to our eyes in the first place.

Maybe there’s more joy to this kind of elusive chroma, or if not more, then certainly a distinct kind of joy – a delight mingled with longing. And that’s of course what joy should be from an evolutionary perspective. Not perfect satiation, but satiation plus motivation to continue seeking that “passage from lesser to greater perfection,” as Spinoza wrote. With its spiritual airiness, intangible color feels something like a promise, a reminder that still greater beauty is out in the world to be discovered.

With these thoughts on my mind, I wanted to share a few works that create a similar kind of intangible color, despite being constructed from tangible materials. The first, above, is a recent piece by Andy Gilmore, whose kaleidoscopic works I’ve long enjoyed and have posted in the past. This piece seems to vibrate in those light spaces where the hues fade out in steps. It’s almost as if it’s moving, and therefore impossible to fully take in all at once.

Below is a kind of 3D counterpoint to Gilmore, from artist Gabriel Dawe’s Plexus 4 and Plexus 5 series. These are similarly vibratory, almost spatial rather than material, like a dense chromatic fog. You almost feel as if you could walk right through them, though in fact they’re constructed from thousands of strands of thread. Like many natural examples of intangible color, these installations seem to radiate their own light, making them even more ethereal and compelling.

I hope you’re out enjoying a colorful weekend somewhere, intangible or otherwise…

Xx Ingrid

For about thirty seconds after coming across this piece, “Housing Boom, if You’re a Bird,” in the NYT, I was enchanted. I read:

I can’t stop playing with this site. The online home of a traveling exhibit about everyday functional objects like the pencil and zipper, Hidden Heroes takes what could be a dull experience and makes it delightful – vibrant, sensorial, playful. Visit the site and see for yourself. The screenshots can’t communicate the pleasure of the transitions, the little joys of the sounds and swishes that bring elements in and out of view. Hidden Heroes, curated by the Vitra Design Museum (a joyful place in its own right), recently won a Webby for navigation, an element of interaction design that typically strives for clarity over enthusiasm.

But I love how the nav manages to incorporate color and whimsy without sacrificing clarity at all. In effect, the nav structures reflect the intention of the exhibit: to elevate the ordinary, to celebrate the stories of simple things. This is no mean feat. Abstracted from the tangibility of the artifacts, online exhibits often feel like poor cousins of the real thing, more effective as documentation than experience. But with all its abundance and brio, the Hidden Heroes exhibit feels like an experience first and foremost for the web, and I wonder if it’s perhaps more pleasurable even than the bricks-and-mortar version.

Web design is inherently constrained by the medium of the screen, and its power to evoke emotion is hindered by this constraint. It’s sensorially limited. It can’t stimulate the senses of touch, smell, or taste, three senses we know to be powerfully linked to our emotions. (Though a smell-o-vision inspired website is still a popular fantasy.) A neuroscientist I spoke with once went so far as to say that he didn’t think art on a screen could ever light up the emotional brain the way a painting could.

But what design for the screen lacks in texture and tangibility, it makes up for in dynamism, movement, and interactivity. At their best, designers who work in this field – interaction designers – floor me with the way they transform mundane experiences into joyful ones. I’m thinking of the Spectra visual newsreader, a uniquely colorful way to peruse the headlines, or the HEMA, a department store in the Netherlands that has created a Rube Goldberg-esque home page that must be experienced to be believed. (Seriously. I’m not even going to try to screenshot it.) More simply, I also love Supermarket Sarah, an online retailer that eschews the grid in favor of a clickable photo array for its navigation.

And finally, as I think of navigation and the web, I can’t help but think about this wonderful project by Alexander Chen, which is not at all about online navigation, but about using the online medium to give us a new perspective on offline navigation. Conductor: mta.me reenvisions the subway map as a string instrument. It is in effect a map come alive, drawing itself with charming lines, tones, and vibrations to overlay a lyrical quality onto something most city dwellers take for granted. Three separate people sent it to me with Aesthetics of Joy in mind, so I know this really spoke to people about delight! It certainly reminded me of the inherently joyful quality of transit maps, their colorful lines and intersections, and all the happenings you can imagine at their junctures. (The video is ok but again, go to the site to really experience it.)

Have I missed other joyful interfaces? Which websites bring you joy?

If you’re anything like me, your first reaction on seeing the above was “What is that?” – a question fueled by equal parts wonderment and curiosity.

Since my recent post on the idea of a color language, inspired by Hyo Myoung Kim’s Nineteen Eighty-Four, I’ve been seeing color languages all around. These prints, above and below, by graphic designer Laia Clos of Barcelona’s Mot Studio, explore a color-based translation of musical notation. SisTeMu, as the notational schema is called, relies on simple geometric forms and colors to make a piece of music (in this case, the lead violin of Vivaldi’s Four Seasons) tantalizingly visible. How intelligible it might be is another matter, but for the way it dimensionalizes the experience of music, I find it captivating.

Music is one of the most visceral of art forms, capable of evoking intense emotions without a descriptive or narrative thread. It is pure abstraction. Can you imagine opening up a playbill at the philharmonic to find a set of visuals like this inside? It would be so wonderful to try to follow the measures along. I love how the variations in the scale and color of the bubbles create an instantaneous sense of tempo and intensity – it’s a synesthetic experience of sound.

This piece, from Eugene Ysaÿe’s Sonata Nº5 is so wonderfully varied. I think I like the visualization even more than the Vivaldis. Which made me wonder, would I like the music better as well? And, I think I do. Wouldn’t you like to see the below as an animation with the piece?

I especially love the stamps for each of the seasons, which are like melodic snapshots. Sonic triggers, in visual form. Both the stamps and the posters are available on Clos’s site, here.

Another color language discovery comes via Anna of the awesome Birds of Ohio blog. She pointed out to me the work of artist Lauren DiCioccio, who, like Hyo Myoung Kim, translates text into color, albeit with a softer, more organic style. These pieces, which DiCioccio calls her color codification dot drawings, take pages from popular magazines such as Vogue and Vanity Fair and reinterpret them in color using a painstaking process with a mylar overlay. She describes them as a kind of “Braille for the color-inclined.” They feel to me almost like an impressionistic language. Poetry, Seurat-style.

Stephanie Posavec’s Writing Without Words similarly explores reading as an experience that is about more than content. Zooming out – way out – Posavec’s visualizations of books function like a Powers of Ten for literature, giving us a visual image of the structure we sense intuitively as we work our way through a book. This first image shows the chapters of Jack Kerouac’s On The Road, broken into paragraphs and sentences, color-coded by theme. Rhythm Textures, below it, visualizes sentence structures with words as radiating circles, pauses in white. I love how the seeds of all these patterns are visible in the highlighted versions of the manuscripts that Posavec used in constructing these studies.

Posavec’s First Chapters, below, is especially fascinating to me. This set of visualizations (only a subset of which is shown below), looks at the first chapters of famous books to illustrate the writing styles of different authors. Line length is based on sentence length, so tighter drawings suggest shorter, crisper style, while looser, more open sketches indicate a more languid style. Could there be a more perfect juxtaposition than Faulkner and Hemingway? Expansive vs. economical, loose loops vs. a tight knot – there’s a real joy in seeing these styles exposed through a system.

Much of the work of both DiCioccio and Posavec seems to concern the visceral and immersive quality of reading and grapples with the fading of this pleasure as so much of our reading now moves onto devices. These color languages, all print projects, manifest the craving for a more emotional, less efficient experience of reading (or listening, as the case may be). After all, a color language is illegible* in terms of content, but emotionally, it is fecund. It simultaneously slows the process down and makes it more immediate, refocusing our attention on the sensorial aspects of narrative, obfuscating content to illuminate meaning.

On the other hand, these projects also make me wonder if the move to devices might hold the possibility of making reading more sensorial, rather than less. True, for me there is no more exquisite literary sensation than the aroma of a good book, whether it’s the musty smell of an aged classic or the pungent, chemical tang of a new one. But imagine being able to see these sentence structures or thematic progressions visualized alongside or overlaid upon your text in an e-book. Reading would be both linear and non-linear, abstract and concrete, intuitive and literal all at once. Through the design of the book, or the e-reading software, we could discover the joy of a completely new and beautiful understanding of the craft of writing.

Finally, before I close, I want to highlight just one more color language, also from Posavec. This piece, from her 11x series, looks at mathematics through the lens of form and color. I figured there had to be someone out there translating numbers into color, and though I found Posavec’s work through the meta-narratives above, I was excited to discover these pieces, which visualize her fascination with “long multiplication and other types of handmade calculations” and unlock the “hidden beauty in the cascading lines of digits in this method of multiplying numbers.” Maybe there’s a seed of an idea in here about education, working between the modes of learning – verbal and visual, mathematical and kinesthetic, musical and spatial with translations that make the innate order and beauty of a process legible to the others. Through simple aesthetic delight, perhaps math problems become accessible to the numerically illiterate, or music becomes sensible to the tone-deaf.

{Thank you @issue and Anna for the inspiration for this post.}

*Incidentally, there’s a reason for why a color language would be so much harder to read than standard human languages. Neuroscientist Marc Changizi writes in his book The Vision Revolution that the reason we read so easily is because our letterforms evolved to look like natural objects, (or more correctly, parts of objects) which our brains are primed to process quickly because they surrounded us in our ancestral environment. Reading a text is then very much like reading a landscape. Our letters look like they do because our brain is fast at processing edges and contours, which hold information about an object that could be urgently relevant to our survival, but slower at processing stimuli less urgently relevant to survival. (Is that a cliff edge or a gently sloping hillside? A tiger’s sabre tooth or a ripe apricot? The fastest way to know is shape.) Our letters are not colors because such a detailed level of color identification is not as urgent a mental task; the systems for “reading” color are just naturally slower, (though colors hold lots of intrinsic emotional significance… a topic for another post).

This book, by artist Kyo Myoung Kim, fascinates me. Spotted at an exhibit at the Cabinet space in Gowanus, Brooklyn a couple of months ago, the book has been lodged in my mind ever since. I can’t stop thinking about what it would be like to write this way, to communicate with a color language. Would you type it on a rainbow keyboard? Or compose on a color wheel? What kind of pen would you have to design to produce these signs?

Imagine the experience of creating this book, translating it from words into reds, violets, and oranges. What would it be like to be drilled as a child on a chromatic alphabet? To unlock meaning effortlessly from this linguistic confetti?

Hue, saturation, value: What roles would these play? I can’t help but push this further. Pure hues might be phonemes, and the lengths of the bars might indicate inflection. Value might be volume. Saturation might be emotional tenor. Can you imagine the beauty and the power of a language like this? I was reading this week about how phonetic languages (most Western languages), as opposed to pictographical languages (Chinese, Japanese, etc.), offer the flexibility to be able to write in dialect. I never thought about this before, but because all we’re doing in writing English is transliterating sounds, we can change these sounds around to suggest a drawl or foreign intonation. A language like this color language I’m suggesting, though it would be nearly impossible to master, would allow new layers of meaning and direction to rise from the page. Think how crude our written tools of emotional expression – the all caps, the exclamation point – seem, against the possibility that words themselves could be colored based on emotion and volume. In a novel, you could see an argument set in dark, deeply saturated bars. A mumbler would speak in strands of near-grays. A languid, happy character would shine through long bars of bright pastels. A new richness of plot and character would be available to writers and readers.

A reader would not actually need to understand the language to feel some of the meaning. Like spoken language, where we understand much from inflection, even in languages we’ve never heard before. One could flip through a book in this color language and feel the arc of the story, understanding the emotional narrative if not the descriptive one.

This language also would mean the same speech might look different when uttered by a different speaker. I’m imagining a poem written in this language, transcribed as read by three different readers. How different these would look, but still comparable, because all the hues would be the same. Or imagine a small book, with a series of poems as read by two readers, the two variations facing each other across the pages. (A project for a rainy day.)

I suspect there might be two unexpected discoveries in this exercise. One, that the immediacy of color might change the meanings of words. Some words might be unexpectedly beautiful, others jarring, depending on the new system. A kind of synaesthetic onomatopoeia might emerge. And secondly, that folding emotion into language might create a different kind of awareness of emotional content in dialogue. If we had to encode what we’re feeling in language, how would this articulation affect us? And if our emotion were indicated in our writing, how might our relationships change? Would we feel closer to each other, or would new misunderstandings arise? Would color language be a truer reflection of our minds? Or just a richer one, without any bias towards precision or accuracy?

Correction: The name of the artist of this piece should have read Hyo Myoung Kim. Apologies for the error. You can find more of Hyo Myoung’s work here.

There’s something pleasurable about a good pattern, and it’s a pleasure all out of proportion to reason. Pattern is just arrangement, not content; it lacks the inherent meaning and immediacy of pure sensory pleasures, like buttercream frosting or dappled sunlight or the first crunchy bite of a ripe apple. And yet, pattern has tremendous emotional significance, at times irrespective of or even in contrast to the content it holds. Simply the act of imbuing order creates delight.

To experience this, you need look no further than the aptly named Things Organized Neatly blog, which showcases all manner of random objects upon which various kinds of order have been imposed: color spectra, grids, size hierarchies, taxonomies, pairings, tesselations, stacks, and so on. It’s a catalog of order, and of the ways in which order can transform ordinary objects in enchanting ways. A set of paint-dipped spoons, a few feathers, some mismatched number 2s — any of these objects would be unremarkable alone on a flea market table, but together, in their arrays, they’re evocative and compelling. Even objects that normally evoke emotions like fear, anger, disgust — objects like fish parts, knives, and guns — become joyful in this neatly organized world.

That the content can be arbitrary makes order an intriguing aesthetic of joy. It’s an aesthetic of process, rather than substance. Actually, as I write this, I’m reminding myself that all aesthetics concern process, when it comes down to it. Aesthetics are results of different kinds of processes — of growth, of fabrication, of movement, of selection, or of arrangement — and they reflect these processes in their forms. Order, a product of the last two, is a manifestation of balance, a sense of harmony between elements that transcends the quality of the individual objects. It’s about the forces between modules, rather than the modules themselves. Order gives the content emotional significance; in fact, we could say that by becoming the dominant feature to which our emotions react, order itself becomes the emotionally-relevant content.

But what kind of content? Why does order stimulate contentment, and even delight?

We humans are natural pattern-finders. Our brains revel in discovering order, and they do it even when no actual manipulation of objects is involved. With the volume of data being received through our senses at any moment, an ability to find a meaningful signal among the noise is one of the brain’s most essential functions. Order begets pleasure because order creates a canvas that allows us to identify disorder, and the opportunities or threats it could connote. As a species, we thrive and die by the extraordinary, so systems for finding it are intrinsic to our survival. One researcher describes this drive as patternicity, and points to a study that demonstrates that evolution favors an over-inclination to assign patterns to the world around us. (This tendency is so pervasive, our brains often even manage to find patterns where none exist — and it makes sense we do so even more when stressed, when the brain is on heightened alert for threats.) This patternicity extends to aural stimuli, as well as visual ones. Studies have shown that infants have an innate understanding of the concept of beat, and will react with surprise when a regular series of tones is disrupted. And of course, in music, the pattern or organization of tones is as much a determinant of the emotional content as the tones themselves, while the ability to discern these patterns is a major source of the pleasure of listening to music.

Many thinkers have expressed the joy of order, as they have observed it or felt it intuitively. Alain de Botton writes, “The drive towards order reveals itself as synonymous with the drive towards life.” Pearl S. Buck observed that “Order is the shape upon which beauty depends.” And perhaps a bit more abstractly, the biologist D’Arcy Wentworth Thompson, who had such a keen eye for order in nature: “The harmony of the world is made manifest in Form and Number, and the heart and soul and all the poetry of Natural Philosophy are embodied in the concept of mathematical beauty.” I love the word harmony, a more emotional interpretation of the more sober order. Harmony connotes a certain rightness, balance, and intrinsic pleasure that come from things that have meaningful relationships to each other. And I’m struck by the mention of soul in Thompson’s observation; we tend to think of soul as unbound, free of the confines of predictable order, so there’s a wonderful tension in the idea that the mathematical world of order can also offer soul.

Collecting is another manifestation of this desire for order, and a seemingly universal human behavior. I believe that we collect things to find patterns, often through objects that link together moments in our lives. Collecting, like all forms of pattern-finding, is a narrative impulse: Our things tell better stories when thoughtfully arranged. This may explain the oft-misunderstood delight of the collector, at finding an unusual button or butterfly. It is another link in the chain, a module in a story that is not so much invented as curated, assembled from ordinary-looking dross into a pattern of joy.

For more, check out Things Organized Neatly, as well as A Collection A Day, both blogs that showcase the joy of order. The last two images were republished on Things Organized Neatly from Homemade Is Best, a baking cookbook from IKEA. They’re amazing, probably deserving of a post of their own.

This clever little rainbow by Dutch artist Helmut Smits made me smile. Not quite the reaction of the “double rainbow” guy, but still, there’s something joyful about rainbows…

I love the opportunistic quality of this incredibly simple piece, the way it takes advantage of an existing motion to create something beautiful. For people who regularly sit behind the wheel of a car, the movement of windshield wipers is almost invisible — of course, it’s designed to be that way. Like a kite exposing the movement of the wind, or these speed blend tires embellishing the motion of bike wheels, it’s amazing how a little color can expose the hidden beauty of an ordinary arc.

{via @etsy}