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The Grid Book (MIT Press), by Hannah B Higgins
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Emblematic of modernity, the grid is the underlying form of everything from skyscrapers and office cubicles to paintings by Mondrian and a piece of computer code. And yet, as Hannah Higgins makes clear in this engaging and evocative book, the grid has a history that long predates modernity; it is the most prominent visual structure in Western culture. In The Grid Book, Higgins examines the history of ten grids that changed the world: the brick, the tablet, the gridiron city plan, the map, musical notation, the ledger, the screen, moveable type, the manufactured box, and the net. Charting the evolution of each grid, from the Paleolithic brick of ancient Mesopotamia through the virtual connections of the Internet, Higgins demonstrates that once a grid is invented, it may bend, crumble, or shatter, but its organizing principle never disappears. The appearance of each grid was a watershed event. Brick, tablet, and city gridiron made possible sturdy housing, the standardization of language, and urban development. Maps, musical notation, financial ledgers, and moveable type promoted the organization of space, music, and time, international trade, and mass literacy. The screen of perspective painting heralded the science of the modern period, classical mechanics, and the screen arts, while the standardization of space made possible by the manufactured box suggested the purified box forms of industrial architecture and visual art. The net, the most ancient grid, made its first appearance in Stone Age Finland; today, the loose but clearly articulated networks of the World Wide Web suggest that we are in the middle of an emergent grid that is reshaping the world, as grids do, in its image.
- Sales Rank: #160419 in Books
- Published on: 2009-01-23
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .75" w x 7.00" l, 1.95 pounds
- Binding: Paperback
- 312 pages
Review
Here is a natural storyteller, with scholarly depth, apparently motivated by delight. Where another information historian might have breezily justified your cultural comfort with the net, or else made a jargon-laden assault against it, Hannah Higgins has found the right pitch. Whatever grids you are on, this brightly edited book might help you know them better or see them differently.
(Malcolm McCullough, author of Abstracting Craft)Hannah Higgins' new book on grids is a confident synthesis of art, architecture, geography, geometry, urbanism, and social history. Its elegant prose and easy erudition recall the work of Lewis Mumford; its intellectual energy and subtle humor, the writing of Roland Barthes.
(Stephen F. Eisenman, Professor of Art History, Northwestern University)[I]t is...an informative and sometimes provocative meditation on the place of geometry in human life.
(Bryan Hayes American Scientist) About the Author
Hannah B Higgins is Associate Professor in the Department of Art History at the University of Illinois at Chicago. She is the author of Fluxus Experience.
Most helpful customer reviews
13 of 14 people found the following review helpful.
G-rids in the house, yo.
By lau
I cannot contain my eagerness to express how wonderful this book is! I couldn't put it down. Very intellectually written, yet it reads very quickly and intuitively. I find it hard to believe how much information I'm absorbing with each turn of the page. Higgins is a master at articulating the interconnectedness of the many layers present in the world throughout our history as human beings as we repeatedly create for ourselves cycles of gridmaking, breaking, remaking, redefining & reactualizing.
Highly recommended if you're interested in the theories or history of any of the following: grids, art, architecture, cities, maps, music, design, typography, order & chaos, the shaping of a global visual culture, social networks, urbanism, geometry, synchronicity. This book weaves them all together in a dazzlingly refreshing way.
12 of 13 people found the following review helpful.
The Triumph of Gridding
By Rob Hardy
You see grids all the time. Where I am typing right now, for instance, there is a gridwork of tiles on the floor, cement blocks on the walls, in the lines on my appointment book or my wall calendar, and there must be one of pixels on my computer screen too small to see. Grids are not a natural phenomenon, but seem to be produced as a natural consequence of human activity and human thought in many different spheres. This is the point of _The Grid Book_ (MIT Press) by art historian Hannah B. Higgins. You'd expect an art historian to include plenty about paintings (especially those by Piet Mondrian), and Higgins does, but she admits she sees grids everywhere, and anyone who reads this wide-ranging book will, too. Grids evolve, Higgins says, but not in isolation: "Rather, the quality of each grid progressing to the next ties them to political, social, economic, and religious histories, each grid aligning with a different universalizing scheme." She describes her work as an "interdisciplinary adventure tale", and it works as an intellectually ambitious series of essays on ten different types of grids, some of which you may not have thought of as grids at all.
Higgins's first chapter is devoted to the simple brick, first formed of mud in something like 9000 BCE. Bricks aren't grids themselves, of course, but make grids when they are used. "Joined or placed just so, walls would become houses, irrigation canals, and security walls, the latter of which would make towns possible." Before assessing how bricks in grids make buildings which go onto city grids of streets, Higgins takes a surprising turn. A few thousand years after bricks were made, tablets were made for writing. Cuneiform was the first script, and it was pressed into brick-like tablets, the writing within a drawn grid, cells resting one on the other. Printing reinforced linear and grid-like design. The design of the letters used in each line was based on typographical principles whereby each letter was set out on a grid to make sure it had legible and esthetically-pleasing proportions. Higgins also devotes a chapter to the grids one finds in ledgers, originally with Greek and Roman slaves toting up columns of income on one side and expenses on the other. Some American colonial cities were planned out with grids, and after the Federal Land Ordinance of 1785, gridirons were literally the law of the land for cities. Such plans represent an imposition of human notions onto nature, with city planners ignoring terrain (a good example is San Francisco) for the benefits of orthogonality. Higgins shows a picture of a heavily-laden modern container ship, with the truck-sized boxes stacked and lined up just so. It is only a small jump from shipping containers to skyscrapers such as the boxy Seagram Building in New York. The grid is a part of painting history in "the veil", a screen matrix through which an artist might sight his subject, with his canvas being divided into a comparable matrix. Grids such as plaza squares show up countless times in pictures that are textbook examples of perspective, and Higgins shows how grids historically aided artistic understanding of perspective. Another grid within the arts is the musical stave, and Higgins gives a brief history of how musical notation grew into the five horizontal lines, punctuated by vertically placed notes and divisions into bars. As did so many grids Higgins describes, the stave produced unexpected advances, in this case the possibility of designating multiple pitches at once. Polyphony offended the fourteenth-century church, which also predicted that stave-enabled music would become increasingly secular, and this turned out to be true.
Higgins jumps from one grid to another, nicely illustrating the universality of her topic, and includes a huge array of subjects including being "off the grid", screens of many types, punchcards, cubism, and the World Wide Web. There is broad erudition here, but the book is suffused with an appealing intellectual playfulness. The grid might stand for imposed regularity (indeed, Higgins does not fail to touch on the grid that is the metal walls of a prison cell), but over and over she shows that grids have promoted creativity and unexpected avenues of growth. "Grids are brought to life in their use," she says, and proves it to be so in a lively set of essays.
0 of 0 people found the following review helpful.
Pedantic
By Suzi Wong
Pedantic and verbose, sorry I bought it.
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