Ellsworth Kelly

When a liar gets caught in a lie, they don’t come clean. They build a bigger lie.


signs of dishonesty decreased trust but only in those who had not previously built a good reputation as honest partners.

On the contrary, those who could establish a good reputation were trusted even when they were no longer trustworthy, suggesting that participants could not successfully track changes in trustworthiness of those with an established good reputation.

{ Journal of Experimental Psychology | Continue reading }

lithograph { Ellsworth Kelly, Blue Curve, 2013 }

‘Nothing is so useless as a general maxim.’ —Thomas Macaulay


“you only have 100k because of ur url.”

“uh no i had 93k before i got this url so excuse u.”

{ New Republic | Continue reading }

art { Ellsworth Kelly, Diagonal lines, 1951 | James Marshall, Untitled 7, 2015 }

Nous partîmes cinq cents ; mais par un prompt renfort, nous nous vîmes trois mille en arrivant au port


Most fans in many popular sports pay less for their tickets than conventional economic theory would predict.

Which poses the question: are team owners therefore irrational?

Not necessarily. There are (at least?) four justifications for such apparent under-pricing.

First, say Krautmann and Berri, owners can recoup the revenues they lose from under-pricing tickets by making more in other ways: selling programmes, merchandise and over-priced food and drink in the stadium.

Secondly, Shane Sanders points out that it can be rational to under-price tickets to ensure that stadia are full. […]

Thirdly, higher ticket prices can have adverse compositional effects: they might price out younger and poorer fans but replace them with tourists […] a potentially life-long loyal young supporter is lost and a more fickle one is gained. […]

Fourthly, high ticket prices can make life harder for owners. They raise fans’ expectations.

{ Stumbling and Mumbling | Continue reading }

oil on wood { Ellsworth Kelly, Seine, 1951 }

‘Useless words. Things go on same, day after day.’ –James Joyce


{ Ellsworth Kelly, White Brown, 1968 | Interview with Ellsworth Kelly, October 2013 | more }

Every anti-art is art. That is why we reject it.


{ 1. Ellsworth Kelly, Chatham VI: Red Blue, 1971 | Oil on canvas, two joined panels | MoMA until Sept. 8, 2013 | 2. Gerold Miller, instant vision 143, 2012 | lacquered aluminum }

She drew down pensive (why did he go so quick when I?) about her bronze over the bar where bald stood by sister gold


I sold them for about a thousand dollars in the ’70s, but now my gallerist, Matthew Marks, wants a lot for them. […] Matisse can’t do a line without it being a Matisse. I’m not that way. I do a lot of mediocre stuff, and if they’re not good, they go out.

{ Interview with Ellsworth Kelly | BusinessWeek }


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{ Ellsworth Kelly on The Gulf of Marseilles Seen from L’Estaque, by Paul Cézanne }

Life as the product of life


Scientists have now accurately predicted almost the whole genome of an unborn child by sequencing DNA from the mother’s blood and DNA from the father’s saliva.

{ Science | Continue reading }

artwork { Ellsworth Kelly, Red White, 1961 }

But waiting, always waiting to be asked and it was leap year too and would soon be over


{ Ellsworth Kelly, Sculptural Screens in Brass I-VII, 1957. Interior view of Post House restaurant, Penn Center Transportation Building }


{ Ellsworth Kelly, Sculpture for a Large Wall, 1956-57, at Penn Center Transportation Building. | On view at The Museum of Modern Art until June 4 }

previously { 104 anodixed aluminum panels }

An alibi is the proven fact of being elsewhere, not a false explanation


Jellyfish will not plague our oceans in the future as was previously thought, say researchers who have found no evidence for global increases in jellyfish blooms.

Despite media claims over the past few years that worldwide jellyfish numbers are increasing at an alarming rate, there has been no database of jellyfish numbers to back this up.

{ Cosmos | Continue reading }

artwork { Ellsworth Kelly, Study for Rebound, 1955 }

Damn your yellow stick. Where are we going?


A Waboba is a ball that bounces on water (wa-ter bo-uncing ba-ll). That makes it kind of unusual since a simple experiment will show that many balls do not bounce on water. And that raises an interesting question–how does the Waboba work?

Today we get an answer from Michael Wright at Brigham Young University in Utah and a few buddies. These guys videoed the way three balls interact with water when bounced.

A Superball, which is solid and so has a relatively small surface area for its mass, burrows deep into the water, even when it hits at a shallow angle. So it does not bounce.

A raquet ball, on the other hand,is hollow and so has a larger surface area ratio to mass ratio. When thrown at a shallow angle, it penetrates only a small distance into the water creating a depression in the surface through which it planes back onto the surface. So it rebounds a little.

The Waboba is hollow but it is also soft. (…) Because it is soft, the ball flattens into disc-shape when it hits the surface and this allows it to aquaplane efficiently across the surface. (…)

Why might this be useful? Wright and co don’t say in their video but the fact that one of the team is with the Naval Undersea Warfare Center in Newport might offer a clue.

{ The Physics arXiv Blog | Continue reading }

artwork { Ellsworth Kelly, Yellow White, 1961 }

And I beat me a billy from an old French horn


People who are more aware of their own heart-beat have superior time perception skills.

{ BPS | Continue reading }

artwork { Ellsworth Kelly, Atlantic, 1956 | Oil on canvas on two panels }

When you’ll next have the mind to retire to be wicked this is as dainty a way as any


The English language makes a distinction between blue and green, but some languages do not. Of these, quite a number, mostly in Africa, do not distinguish blue from black either, while there are a handful of languages that do not distinguish blue from black but have a separate term for green.

{ Wikipedia | Continue reading }

painting { Ellsworth Kelly, Blue Green Red, 1962–63 }