Digital Cliches and Anti-Patterns
Name it to refuse it — a catalogue of what not to do Overview The fourteen reports that precede this one document how mountains have been seen with depth, specificity, and cultural richness by traditions spanning thousands of years. The Pahari miniaturist (A1) knew exactly which shade of blue-grey described the Dhauladhar at midday. The shan-shui painter (A9) understood that the space between mountains — the mist, the void, the white silk left unpainted — was as important as the peaks themselves. The thangka tradition (A4) encoded an entire theology in the difference between azurite blue and malachite green. The colonial surveyor (B1), for all his ideological baggage, at least had the discipline to look at a specific mountain and record its specific contours. Even Bollywood (B4), at its laziest, chose Kashmir because it was a particular place with a particular light. ...