ars notaria (10. 503)

Via Clive Thompson’s latest linkfest, which is a delight in itself to check in on often, we are introduced to the Cistercian system of ciphers, almost rune-like, developed by the monastic order parallel to the arrival of the Hindu-Arabic numerals in northwestern Europe which gradually replaced Roman notation, this stave system of units was far more compact and convenient for transcription as a single glyph could represent any value from one to ten-thousand. The pattern for forming higher numbers becomes apparent and later scholars expanded the system exponentially into the trillions. While seemingly not used for calculation, manuscripts from the thirteenth century show that they were used for numbering lists, indices, tables, musical notation and foliation—that is, page numbers. For more exploration and for a challenge (see also), click through to find source code to make a Cistercian clock.

and the girl in the corner is everyone’s mourner—she could kill you with a wink of the eye (10. 502)

Inspired by a unruly audience driving the band off the stage on this day in 1973 whilst performing in Kilmarnoc at the Grand Hall of the Palace Theatre—the booing and bottling ensuing perhaps the British glam rock group didn’t fit in with the rest of the line up—The Sweet would go on to release in September one of their biggest hits narrating the tense moments before their exuent. The Ballroom Blitz has been covered numerous times and featured in the soundtrack of several films including Wayne’s World.

corecore (10. 501)

Just as a digital culture correspondent hailed the movement as an “anti-trend,” the Dadaists that it is being compared to proclaimed that “Dada is the anti-Dada,” but the facetious take on the burdened suffix to denote a range of highly specific aesthetics and welling, small-batch fads do both attach meaning to the meaningless. Attendant with all the staples of being chronically engaged in online platforms, the best examples of the super-cut meme are touchstones of both estranging anxiety (keenly self-aware that the same platforms are a major and perpetuating contributor) and over-familiar nostalgia. Sample more at Hyperallergic at the link above.

paris peace accords (10. 500)

Negotiations finalised between Lê Đức Thọ and Henry Kissinger on 24 January and nearly derailed the day before by the Battle of Cửa Việt, the treaty officially known as the Agreement of Ending the War and Restoring Peace in Viet Nam (Hiệp định về chấm dứt chiến tranh, lập lại hòa bình ở Việt Nam) was signed on this day in 1973 at the Hôtel Majestic on Avenue Kléber in the XVIe arrondissement by representatives of the governments of the United States, the Republic of Vietnam (South Vietnam), the Democratic Republic of Vietnam (North Vietnam) and the Republic of South Vietnam (the Provisional Revolutionary Government, representing South Vietnamese communists). All US and allied forces agreed to complete withdrawal in exchange for the release of prisoners-of-war, with all parties acceding to an immediate cease-fire, the establishment of council of national reconciliation, a peaceful reunification free of foreign interference, withdrawal of foreign troops from Cambodia and Laos and financial aid from the US for war-ravaged Indochina. Despite also securing a commitment from America to replace materiel and armaments on a one-by-one basis, congressional support for further appropriations evaporated and lapsing during the Watergate scandal, North Vietnam made their final offensive operations in April of 1975, precipitating the fall of Saigon and the capitulation of the Republic of Vietnam.

statistical breviary (10. 499)

Currently on exhibit at the National Arts Club in New York City, we are finding ourselves preoccupied with the presentation of Greg Colson and his studies in pie charts that reflect our collective and dissected anxieties and fear, surveyed as they are suggesting that each wedge might be susceptible to reduction or expansion in a way that’s wiser than the format seems at first glance. More at Hyperalleric at the link above.

6x6 (10. 498)

trattoria: the invention of Fettuccine Alfredo—a labour of love  

masstransiscope: a zoetrope to be enjoyed at speed by NYC subway passengers—see also  

chuco헐sol: the need for new weather words to reflect living through the climate catastrophe  

break five: a comprehensive guide to celebrating the Lunar New Year on mainland China—via tmn  

boogaloo in apartment 41: the musical stylings of Ozzie Torrens and his Exciting Orchestra  

melts in your mouth: M&Ms spokescandies finally forced into retreat by conservative pundits

money to burn (10. 497)

Once seized as the counterfeiting scheme of a mysterious Frenchman, Public Domain Review contributor Dorinda Evans reassesses the hyperrealistic paintings of Victor Dubreuil of US paper currency as a social critique of capitalism and exploitative working practises at a time when few were openly questioning the status quo. These still lives with dollars and trompe l’oeil paintings of legal tender enjoyed some contemporary popularity in addition to scrutiny by the US for the starving artist but most missed the anti-imperialism, anti-kleptocractic allegory of Dubreuil. Find a whole gallery of his works at the link above.

beta-testing (10.496)

In an attempt to pre-empt some of the legal and ethical concerns in a field fraught with promise, disappointment and unchecked acceleration that our present concessions to copyright and IP are not fit for, stock picture clearing house Shutterstock has partnered with a suit of text-to-art artificial intelligences to offer clients with existing licensing packages access to a limited dataset used to train the generative AI, promising to compensate artists, photographers, models (contributors) whose work was skimmed, studied. Shutterstock also includes the unenforceable catch-all caveat that generated images must not be used to infringe or misappropriate intellectual property or otherwise generate false, deceptive or misleading imagery—which we can’t whether or not divides the onus and responsibility between publisher and patron.