patrimony

Disturbingly—though the US only rejoined the international body promoting education, scientific research and preservation of cultural heritage from hegemon in 2002 after an eighteen-year hiatus that Ronald Reagan initiated, accusing it of betraying a bias towards Communism—Dear Dotard has unilaterally decided to withdraw America’s membership from UNESCO (also the purveyor of international days of observation and the committee behind the creation of CERN, for starters) predominately over what’s characterised as its anti-Israeli leanings demonstrated by making Palestine a full-member and for (in July) inscribing a site in Hebron to its World Heritage List. Fiduciary concerns were also cited as contributing factors—including some half a billion dollars in back payments that America has yet to repay. Following the US announcement, Israel expressed its intent to leave the organisation as well.

nacht und nebel

We’ve previously confronted the highly disturbing tolerance and even admiration that certain elements of the American populace have displayed (and woefully continue to do so—just now with more abandon and zeal) for the National Socialist political party of Germany and knew of the rally held in Madison Square. It always struck me as a secret, shameful episode that despite mounting anecdotes and evidence was something that was buried and few knew of, so we were grateful to learn that a short, straightforward documentary called “A Night at the Garden” by Academy Award nominated director Marshall Curry has been complied from all available footage. It is absolutely inconceivable to me that with the benefit of hindsight and historical distance, a bunch of Cosplay Nazis are convinced that holding these views are acceptable. 

non verbus, sed rebus

We enjoyed pouring over the pictorial kanji typography from artist Nozzdesu that makes Japanese writing a bit more accessible to the illiterate and reminded us of a similar experiment with Arabic script. The calligraphy (shodō, 書道) of Japan, as with many other places, has gone through many stylistic shifts and some glyphs broach the recognisable and selecting for geometry, colour and style can go further in helping to impart meaning for outsiders. Pictured is the word eiga (映画) for movie.

må jeg skjære ham i fingeren? må jeg rive ham i håret?

Synchronised to a two-dimensional physics simulation, animator DoodleChaos’ line-rider rendering of Edvard Grieg’s (previously) In the Hall of the Mountain King was a rather thrilling sled ride. You should definitely have the speakers on full blast for this one and watch it through to the end when it gets really harrowing.

rogues' gallery

While previously on PfRC we were exposed to the teaching and methodology of Inspector Alphonse Bertillon whose research into how anthropometry could be applied as systematic way of identifying repeat offenders and informed our notions of biometrics, we hadn’t actually seen his superbly complex diagrams and composite “mug-shots” until now.  First working as a transcriptionist for the Paris police department, Bertillon grew frustrated with informal, instinctive forensic techniques that were failing to reduce recidivism rates—and encouraged bolder criminal behaviour since it appeared unlikely one would be caught and the potential reward made the risks acceptable ones.
No doubt Bertillon was a dedicated pioneer whose legacy lives on in all precincts, but something about him strikes me as very Inspector Javert (from Les Misérables who became obsessed with capture and punishment of Jean Valjean) especially considering his growing eccentricities and loss of credibility when he claimed that there was a mathematical infallibility to his technique (when there demonstrably was not) and his false testimony was used to sentence Alfred Dreyfus (of the divisive Dreyfus Affair, a study in anti-Semitism and grave miscarriage of justice in which a captain was incorrectly accused of treason whilst his superiors, the real culprits, deflected the blame) to exile and imprisonment. Eventually Bertillion’s comprehensive system of markers was collapsed into the complementary but competing method of dactyloscopy, once the inspector himself perfected a way to retrieve latent fingerprints from smooth surfaces.

exemplum

Treating the needlework sampler as the record of a life overlooked, the Fitzwilliam Museum of the University of Cambridge has curated a collection of over one hundred of these crafty examples (both words have the same Latin root) from the sixteen hundreds up until modern times—often with the morose realisation that these creations made to demonstrate literacy, stitching skills as a future home-maker and cottage-industry entrepreneur are the only trace of their existence remaining. The exhibition also explores how symbolism and subject shifts with time and how in depth research centred around these artefacts—which also were the makers’ creative outlet—can reveal further details about the fortune and circumstance of the individuals and their families.