Arts / Flow · Turbulent
The serendipity of human perception
Perception reaches discoveries that strict reason would never set out to find.
Our view
Horace Walpole coined the word serendipity in 1754, from a Persian tale whose princes kept making discoveries “by accidents and sagacity”. Both halves count. Accident supplies the material; sagacity recognises that it matters. The arts train the second half.
Reason tests the hypotheses it is handed; perception enlarges the set it is handed. That is why a think tank devoted to truth keeps the arts in its programme — as an instrument of discovery, and as part of what makes the lives we work for worth living.
Our work
Three of our applications work at the edge of perception.
Our selection
- Horace Walpole’s papers — Lewis Walpole Library, Yale University · Primary source · United States
- Project Gutenberg — Volunteer digital library · Texts · public domain
- IMSLP — Petrucci Music Library — Scores and recordings · Music · public domain
- Gallica — Bibliothèque nationale de France · Library · France
- NDL Digital Collections — National Diet Library · Library · Japan
- Qatar Digital Library — Qatar National Library and British Library · Manuscripts · Arab world
- Endangered Archives Programme — British Library · Archives · worldwide
- Louvre collections — Musée du Louvre · Museum · France
- Rijksmuseum collection — Rijksmuseum · Museum · Netherlands
- Open Access — The Metropolitan Museum of Art · Museum · CC0
- Open data — National Palace Museum · Museum · Taiwan
- Smithsonian Open Access — Smithsonian Institution · Museums · CC0
- Internet Archive — Non-profit library · Film, sound, software
Reading
- The Divine Comedy (1321) — Dante Alighieri · Full text · Project Gutenberg
- Leaves of Grass (1855) — Walt Whitman · Full text · Project Gutenberg
- Ariel (1965) — Sylvia Plath · Catalogue · Open Library
- The Plague (1947) — Albert Camus · Catalogue · Open Library
- The Odyssey (c. 700 BC) — Homer · Full text · Project Gutenberg
- Hamlet (1603) — William Shakespeare · Full text · Project Gutenberg
- Don Quixote (1605) — Miguel de Cervantes · Full text · Project Gutenberg
- War and Peace (1869) — Leo Tolstoy · Full text · Project Gutenberg
- The Brothers Karamazov (1880) — Fyodor Dostoevsky · Full text · Project Gutenberg
- Faust (1808) — Johann Wolfgang von Goethe · Full text · Project Gutenberg
- Rubáiyát (c. 1120) — Omar Khayyam · Full text · Project Gutenberg
- Gitanjali (1910) — Rabindranath Tagore · Full text · Project Gutenberg
- Moby-Dick (1851) — Herman Melville · Full text · Project Gutenberg
- Poems (1890) — Emily Dickinson · Full text · Project Gutenberg
- Concerning the Spiritual in Art (1911) — Wassily Kandinsky · Full text · Project Gutenberg
- The Notebooks of Leonardo da Vinci (c. 1519) — Leonardo da Vinci · Full text · Project Gutenberg
- What Is Art? (1897) — Leo Tolstoy · Full text · Project Gutenberg
- The Tale of Genji (c. 1010) — Murasaki Shikibu · About the book · Wikipedia
- The Book of Dede Korkut (15th century) — Traditional · About the book · Wikipedia
- My Name Is Red (1998) — Orhan Pamuk · About the book · Wikipedia
- Memed, My Hawk (1955) — Yaşar Kemal · About the book · Wikipedia
- The Time Regulation Institute (1961) — Ahmet Hamdi Tanpınar · About the book · Wikipedia
- Madonna in a Fur Coat (1943) — Sabahattin Ali · About the book · Wikipedia
- Human Landscapes from My Country (1966) — Nâzım Hikmet · About the book · Wikipedia (Turkish)
- The Story of Art (1950) — E. H. Gombrich · About the book · Wikipedia
- Ways of Seeing (1972) — John Berger · About the book · Wikipedia
- Invisible Cities (1972) — Italo Calvino · About the book · Wikipedia
- Ficciones (1944) — Jorge Luis Borges · About the book · Wikipedia
- One Hundred Years of Solitude (1967) — Gabriel García Márquez · About the book · Wikipedia
An effective path
For a society
- Keep public-domain works open, complete and at full resolution.
- Fund making as well as preserving.
- Teach attention: long time with single works.
For an individual
- Spend thirty minutes with one work.
- Make something yourself, however rough.
- Keep a record of what moved you, and why.