One of my favorite design books is The design of everyday things and I'm wondering if there is a relationship between The beauty of everyday things and this book.
I find it interesting that there are such things as approved pencils for museums. And I can't even imagine what would lead to a museum rule such as no sketching.
Reading this, I'm glad fountain pens managed tu survived the convenience era, let' hope jobs survive the AI convenience era too.
I do hope one day I'm able to figure out how to make fountain pens work for my own routines and practice. For now, I can't commit to them and risk the ink drying on them and ruining the pen.
I was wondering about the same thing, and I believe it’s in patterns, and how they acquire beauty, familiarity and utility (UX) from use over time. It’s a fascinating topic, and I might visit this in an upcoming write-up.
I suspect the museum staff didn’t want her peers to approach me again. As for no sketching. I heard it’s for crowd control and possibly legal reasons for loaned items. Understandable but unfortunate.
I believe we are resilient and very adaptive. I found it useful to shed long-running beliefs or concepts that are no longer relevant.
Paulina, thank you for such a thoughtful comment and sub!
I had to pu the phone down, but definitely subscribed!
Looking forward to your upcoming write-up.
Also, as much as I want museums to succeed, it sucks not being able to take the time to appreciate something and being on a timer. But I guess is good so much people still enjoy culture.
Thank you again for the opportunity to collaborate, Wil! I'm grateful we got to share our stories, and getting to read yours in advance was definitely a treat.
I wish I had time to visit museums during my short trip to Tokyo recently. I would love to take my time to explore the exhibits. Maybe one day I will return again.
Thank you for sharing your story and photos. Photo 7 of the woven basket looks similar to the indigenous basket found in Sarawak, my home state in Malaysia.
Speaking of VP, reading your essay reminded me of an old Parker pen I had (gifted to me) for some time and go the life of me now I cannot recall where it is. Now I wonder where it went.
When the weather is milder here, my plan is to treat myself as if I was a tourist here. Visiting local museum as if my time is limited (it kinda of is). I feel silly not doing this more often.
I feel fortunate that we have access to a lot of indigenous art here as well. Thanks for pointing me to Sarawak weaving. I found some pictures and they look wonderful and similar.
Hey Wil, thanks for sharing the pictures and your thoughts on the Mingei Museum. The objects look wonderful.
It was right at the top of my list, yet I still managed to miss it last December. Deep down, I might be resisting it slightly; the Mingei movement has been a massive trend where I’m based for a few years now. There is a clear connection, of course—Yanagi did travel to the UK to set up the pottery with Bernard Leach back in the day.
I suppose it just gives me another great reason to head back to Tokyo soon.
I hadn’t considered that conundrum of elevated Mingei at all. Probably because it is non-existent where I am. It sounds like it's becoming the fine art that the originators were trying to guard against in your part of the world.
I understand how you feel. Yet, at the very core, I believe Soetsu is suggesting that this beauty exists between yourself and the object: without the context, the name seals, or in our case, the red Noguchi logo on washi.
If you’re willing and able, drop me a note about the timing of your next trip and I’ll do the same. Maybe our calendars could align for a meet at the museum.
Beautifully meditative! I like that you highlighted appreciating the 'flavour of beauty through use, care, and appreciation' - the importance of use, not just objects hiding behind display area of a museum. Thoughtful reflections I will carry into the rest of my week.
I've noticed it before, but it didn't really click until the museum and rediscovering Soetsu san. I feel like I am in a world of abundance now, when nothing much has changed materially. Thank you for reading and taking the time to share your thoughts.
One of my favorite design books is The design of everyday things and I'm wondering if there is a relationship between The beauty of everyday things and this book.
I find it interesting that there are such things as approved pencils for museums. And I can't even imagine what would lead to a museum rule such as no sketching.
Reading this, I'm glad fountain pens managed tu survived the convenience era, let' hope jobs survive the AI convenience era too.
I do hope one day I'm able to figure out how to make fountain pens work for my own routines and practice. For now, I can't commit to them and risk the ink drying on them and ruining the pen.
I was wondering about the same thing, and I believe it’s in patterns, and how they acquire beauty, familiarity and utility (UX) from use over time. It’s a fascinating topic, and I might visit this in an upcoming write-up.
I suspect the museum staff didn’t want her peers to approach me again. As for no sketching. I heard it’s for crowd control and possibly legal reasons for loaned items. Understandable but unfortunate.
I believe we are resilient and very adaptive. I found it useful to shed long-running beliefs or concepts that are no longer relevant.
Paulina, thank you for such a thoughtful comment and sub!
I had to pu the phone down, but definitely subscribed!
Looking forward to your upcoming write-up.
Also, as much as I want museums to succeed, it sucks not being able to take the time to appreciate something and being on a timer. But I guess is good so much people still enjoy culture.
Thank you again for the opportunity to collaborate, Wil! I'm grateful we got to share our stories, and getting to read yours in advance was definitely a treat.
I wish I had time to visit museums during my short trip to Tokyo recently. I would love to take my time to explore the exhibits. Maybe one day I will return again.
Thank you for sharing your story and photos. Photo 7 of the woven basket looks similar to the indigenous basket found in Sarawak, my home state in Malaysia.
Speaking of VP, reading your essay reminded me of an old Parker pen I had (gifted to me) for some time and go the life of me now I cannot recall where it is. Now I wonder where it went.
When the weather is milder here, my plan is to treat myself as if I was a tourist here. Visiting local museum as if my time is limited (it kinda of is). I feel silly not doing this more often.
I feel fortunate that we have access to a lot of indigenous art here as well. Thanks for pointing me to Sarawak weaving. I found some pictures and they look wonderful and similar.
I wish you lucky in finding the Parker.
Hey Wil, thanks for sharing the pictures and your thoughts on the Mingei Museum. The objects look wonderful.
It was right at the top of my list, yet I still managed to miss it last December. Deep down, I might be resisting it slightly; the Mingei movement has been a massive trend where I’m based for a few years now. There is a clear connection, of course—Yanagi did travel to the UK to set up the pottery with Bernard Leach back in the day.
I suppose it just gives me another great reason to head back to Tokyo soon.
I hadn’t considered that conundrum of elevated Mingei at all. Probably because it is non-existent where I am. It sounds like it's becoming the fine art that the originators were trying to guard against in your part of the world.
I understand how you feel. Yet, at the very core, I believe Soetsu is suggesting that this beauty exists between yourself and the object: without the context, the name seals, or in our case, the red Noguchi logo on washi.
If you’re willing and able, drop me a note about the timing of your next trip and I’ll do the same. Maybe our calendars could align for a meet at the museum.
Beautifully meditative! I like that you highlighted appreciating the 'flavour of beauty through use, care, and appreciation' - the importance of use, not just objects hiding behind display area of a museum. Thoughtful reflections I will carry into the rest of my week.
I've noticed it before, but it didn't really click until the museum and rediscovering Soetsu san. I feel like I am in a world of abundance now, when nothing much has changed materially. Thank you for reading and taking the time to share your thoughts.