Who Decides What Words Get Into the Dictionary?

DICTIONARY, n. A malev­o­lent lit­er­ary device for cramp­ing the growth of a lan­guage and mak­ing it hard and inelas­tic. — Ambrose Bierce, The Devil’s Dic­tio­nary

Once upon a time, we were made to believe that words could nev­er acquire sticks and stones’ capac­i­ty to wound.

Talk about a max­im no longer worth the paper it was print­ed on!

Lan­guage is organ­ic. Def­i­n­i­tions, usage, and our response to par­tic­u­lar words evolve over time.

Lex­i­cog­ra­ph­er Ilan Sta­vans’ TED-Ed les­son, Who Decides What’s in the Dic­tio­nary?, rolls the clock back to 1604, when school­mas­ter Robert Caw­drey assem­bled the first Eng­lish lan­guage dic­tio­nary “for the ben­e­fit of Ladies, Gen­tle­women, and oth­er unskilled folk.”

Oth­er Eng­lish dic­tio­nar­ies soon fol­lowed, expand­ing on the 2,543 words Caw­drey had seen fit to include. His fel­low authors shared Caw­drey’s pre­scrip­tive goal of edu­cat­ing the rab­ble, to keep them from butcher­ing the high-mind­ed tongue the self-appoint­ed guardian con­sid­ered it his duty to pro­tect.

Word­smith Samuel John­son, the pri­ma­ry author of 1775’s mas­sive A Dic­tio­nary of the Eng­lish Lan­guage, described his mis­sion as one in which “the pro­nun­ci­a­tion of our lan­guage may be fixed, and its attain­ment facil­i­tat­ed; by which its puri­ty may be pre­served, its use ascer­tained, and its dura­tion length­ened.”

Lest we think John­son over­ly impressed with the impor­tance of his lofty mis­sion, he sub­mit­ted the fol­low­ing gen­tly self-mock­ing def­i­n­i­tion of Lex­i­cog­ra­ph­er:

A writer of dic­tio­nar­ies; a harm­less drudge that busies him­self in trac­ing the orig­i­nal, and detail­ing the sig­ni­fi­ca­tion of words.

150 years lat­er, Ambrose Bierce offered an oppos­ing view in his delight­ful­ly wicked dic­tio­nary:

LEXICOGRAPHER, n. A pesti­lent fel­low who, under the pre­tense of record­ing some par­tic­u­lar stage in the devel­op­ment of a lan­guage, does what he can to arrest its growth, stiff­en its flex­i­bil­i­ty and mech­a­nize its meth­ods.

Sta­vans points to broth­ers George and Charles Merriam’s acqui­si­tion of the rights to Noah Webster’s An Amer­i­can Dic­tio­nary of the Eng­lish Lan­guage (1828) as a moment when our con­cept of what a dic­tio­nary should be began to shift.

Web­ster, work­ing by him­self, set out to col­lect and doc­u­ment Eng­lish as it was used on these shores.

The Mer­ri­ams engaged a group of lan­guage experts to curate sub­se­quent edi­tions, strik­ing a blow for the idiom by includ­ing slang and region­al vari­ants.

A good start, though they exclud­ed any­thing they found unfit for the gen­er­al con­sump­tion at the time, includ­ing expres­sions born in the Black com­mu­ni­ty.

Their edi­to­ri­al­iz­ing was of a piece with pre­vail­ing views — see “wife.”

But humans, like lan­guage, evolve.

These days, lex­i­cog­ra­phers mon­i­tor the Inter­net for new words to be con­sid­ered for upcom­ing edi­tions, includ­ing pro­fan­i­ty and racial slurs.

If a word’s use is judged to be wide­spread, sus­tained and mean­ing­ful, in it goes… even though some might find it objec­tion­able, or even, yes, hurt­ful.

Sta­vans wraps his les­son up by draw­ing our atten­tion to Merriam-Webster’s tra­di­tion of anoint­ing one entry to Word of the Year, drawn from sta­tis­ti­cal analy­sis of the words peo­ple look up in extreme­ly high num­bers.

“They” got the nod in 2019, a tes­ta­ment to how deeply non-bina­ry gen­der expres­sion has per­me­at­ed the col­lec­tive con­scious­ness and nation­al con­ver­sa­tion.

The run­ner up?

Impeach.

Care to guess which word 2020 placed in the dictionary’s path?

Relat­ed Con­tent: 

How a Word Enters the Dic­tio­nary: A Quick Primer

A Dic­tio­nary of Words Invent­ed to Name Emo­tions We All Feel, But Don’t Yet Have a Name For: Vemö­dalen, Son­der, Chrysal­ism & Much More

The Largest His­tor­i­cal Dic­tio­nary of Eng­lish Slang Now Free Online: Cov­ers 500 Years of the “Vul­gar Tongue”

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Watch Accurate Recreations of Medieval Italian Longsword Fighting Techniques, All Based on a Manuscript from 1404

Giv­en recent events, the prospect of hun­dreds of young men meet­ing on Face­book, then trav­el­ing from around the coun­try to a cen­tral U.S. loca­tion might sound like rea­son­able cause for alarm. Yet a recent con­ven­tion fit­ting that descrip­tion had noth­ing to do with polit­i­cal vio­lence but, rather, a cel­e­bra­tion and appre­ci­a­tion of the name “Josh” (full dis­clo­sure: this writer did not attend). The gath­er­ing of the Josh­es this past April in Nebras­ka could not have been more peace­ful, includ­ing its fin­ish­ing bat­tle royale, con­duct­ed with pool noo­dles. (Win­ner: adorable 4‑year-old Josh Vin­son, Jr., or “Lit­tle Josh,” from Lin­coln, NE).

The Josh­es had no con­cern for prop­er pool-noo­dle-wield­ing tech­nique, if there is such a thing. But groups of peo­ple who gath­er around the coun­try to stage medieval-style bat­tles in live-action role play­ing (LARP) games with weapons both real and fake might ben­e­fit from point­ers.

So, too, might those who chore­o­graph sword fights on stage and screen. Where can seri­ous his­tor­i­cal re-cre­ators learn how to wield a real blade in his­tor­i­cal­ly accu­rate com­bat? One resource can be found at Wik­te­nauer, a wiki devot­ed to col­lect­ing “all of the pri­ma­ry and sec­ondary source lit­er­a­ture that makes up the text of his­tor­i­cal Euro­pean Mar­tial arts (HEMA) research.”

The Fior di Battaglia (“Flower of Bat­tle”) — an Ital­ian fenc­ing man­u­al by Fiore de’i Liberi dat­ing from cir­ca 1404 — offers rich­ly- and copi­ous­ly-illus­trat­ed demon­stra­tions of medieval Ital­ian longsword fight­ing tech­niques. In the orig­i­nal man­u­script, seen here and at The Get­ty, “the illus­tra­tions are inked sketch­es with gold leaf­ing on the crowns and garters,” notes the Wik­te­nauer entry. They dom­i­nate the text, which “takes the form of descrip­tive para­graphs set in poor Ital­ian verse, which are nev­er­the­less fair­ly clear and infor­ma­tive.” So clear, indeed, the brood­ing young men of Akademia Szer­mierzy — a Pol­ish group that recre­ates medieval sword-fight­ing tech­niques — can more than con­vinc­ing­ly mim­ic the moves in the video at the top.

Once they get going, after some req­ui­site pre-fight riga­ma­role, it’s impres­sive stuff, maybe already famil­iar to mod­ern fencers and cer­tain mem­bers of the Soci­ety for Cre­ative Anachro­nism, the LARP-ing orga­ni­za­tion of ama­teurs recre­at­ing every­thing from the Mid­dle Ages and the Renais­sance. But for those who think all live-action role-play­ing is the equiv­a­lent of the Bat­tle of the Josh­es (or off-brand Nazis run­ning through the streets in home­made armor), the sheer bal­let of his­tor­i­cal sword-fight­ing may come as a sur­prise — and maybe inspire a few more peo­ple to pull on the dou­blet and hose. See more medieval sword-fight­ing recre­ations from Akademia Szer­mierzy here, and the full text of the Fior di Battaglia here.

Relat­ed Con­tent: 

Renais­sance Knives Had Music Engraved on the Blades; Now Hear the Songs Per­formed by Mod­ern Singers

A Hyp­not­ic Look at How Japan­ese Samu­rai Swords Are Made

The Last Duel Took Place in France in 1967, and It’s Caught on Film

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Beautiful 19th-Century Indian Drawings Show Hatha Yoga Poses Before They Reached the West

Yoga as an ath­let­ic series of pos­tures for phys­i­cal health came into being only about 100 years ago, part of a wave of gym­nas­tics and cal­is­then­ics that spread around the West­ern world in the 1920s and made its way to India, com­bin­ing with clas­si­cal Indi­an spir­i­tu­al­i­ty and asanas, a word which trans­lates to “seat.”  Yoga, of course, had exist­ed as a clas­si­cal spir­i­tu­al dis­ci­pline in India for thou­sands of years. (The word is first found in the Rig Veda), but it had lit­tle to do with fit­ness, as yoga schol­ar Mark Sin­gle­ton found when he delved into the roots of yoga as we know it.

Asana prac­tice was often mar­gin­al, even scorned by some 19th cen­tu­ry Indi­an teach­ers of high caste as the domain of “fakirs” and men­di­cant beg­gars. “The first wave of ‘export yogis,’” writes Sin­gle­ton, “head­ed by Swa­mi Vivekanan­da, large­ly ignored asana and tend­ed to focus instead on pranaya­ma [breath prac­tice], med­i­ta­tion, and pos­i­tive think­ing…. Vivekanan­da pub­licly reject­ed hatha yoga in gen­er­al and asana in par­tic­u­lar.”

In the 20th cen­tu­ry, yoga became asso­ci­at­ed with Indi­an nation­al­ism and anti-colo­nial resis­tance, and import­ed West­ern pos­es were com­bined with asanas for a pro­gram of intense phys­i­cal train­ing.

West­ern­ized yoga has obscured oth­er tra­di­tions around the world that devel­oped over hun­dreds or thou­sands of years. For his book with James Mallinson, Roots of Yoga, Sin­gle­ton con­sult­ed “yog­ic texts from Tibetan, Ara­bic, Per­sian, Ben­gali, Tamil, Pali, Kash­miri, Old Marathi, Avad­hi, Braj Bhasha, and Eng­lish,” notes the Pub­lic Domain Review, who bring our atten­tion to this ear­ly 19th-cen­tu­ry series of images from a text called the Joga Pradīpikā, made before clas­si­cal yoga became known in the west by adven­tur­ous thinkers like Hen­ry David Thore­au.

A few mil­len­nia before it was the prove­nance of lycra-clad teach­ers in bou­tique stu­dios, asana prac­tice com­bined rig­or­ous, often quite painful-look­ing, med­i­ta­tive pos­tures with mudras (“seals”), hand ges­tures whose ori­gins “remain obscure,” though yoga his­to­ri­an Georg Feuer­stein argues “they are undoubt­ed­ly the prod­ucts of inten­sive med­i­ta­tion prac­tice dur­ing [which] the body spon­ta­neous­ly assumes cer­tain sta­t­ic as well as dynam­ic pos­es.” The col­lec­tion of draw­ings in the 118-page book depicts 84 asanas and 24 mudras, “with explana­to­ry notes in Bra­ja-Bhasha verse,” notes the British Library, and one image (top) relat­ed to Kun­dali­ni yoga.

What­ev­er the var­i­ous prac­tices of yog­ic schools in both the East­ern and West­ern world, “the meth­ods and lifestyles devel­oped by the Indi­an philo­soph­i­cal and spir­i­tu­al genius­es over a peri­od of at least five mil­len­nia all have one and the same pur­pose,” writes Feuer­stein in his sem­i­nal study, The Yoga Tra­di­tion: “to help us break through the habit pat­terns of our ordi­nary con­scious­ness and to real­ize our iden­ti­ty (or at least union) with the peren­ni­al Real­i­ty. Indi­a’s great tra­di­tions of psy­chos­pir­i­tu­al growth under­stand them­selves as paths of lib­er­a­tion. Their goal is to lib­er­ate us from our con­ven­tion­al con­di­tion­ing and hence also free us from suf­fer­ing.”

Under a broad umbrel­la, yoga has flour­ished as an incred­i­ble wealth of tra­di­tions, philoso­phies, reli­gious prac­tices, and schol­ar­ship whose strands weave loose­ly togeth­er in what most of us know as yoga in a syn­the­sis of East and West. Learn more at the Pub­lic Domain Review, and have a look at their new book of his­toric images, Affini­ties, here, a curat­ed jour­ney through visu­al cul­ture.

via Pub­lic Domain Review

Relat­ed Con­tent: 

How to Get Start­ed with Yoga: Free Yoga Lessons on YouTube

How Yoga Changes the Brain and May Guard Against Alzheimer’s and Demen­tia

Son­ny Rollins Describes How 50 Years of Prac­tic­ing Yoga Made Him a Bet­ter Musi­cian

Affinities, a Book of Images to Celebrate 10 Years of The Public Domain Review

In a sim­i­lar way to how Open Cul­ture aims to dis­till in one place the web’s high-qual­i­ty free cul­tur­al and edu­ca­tion­al media, so The Pub­lic Domain Review aims to help read­ers explore the vast (and some­times over­whelm­ing!) sea of pub­lic domain works avail­able online — like a small exhi­bi­tion gallery at the entrance to an immense net­work of archives and stor­age rooms that lie beyond. Cel­e­brat­ing curi­ous and beau­ti­ful pub­lic domain images is at the very heart of what we do, and so it seemed fit­ting to mark our 10th anniver­sary with a big and beau­ti­ful book of images. Ever since the project began back in 2011, read­ers have implored us to do one, and so final­ly here it is…  we are extreme­ly excit­ed to bring out into the world AFFINITIES.

Gath­er­ing over 500 prints, paint­ings, illus­tra­tions, sketch­es, pho­tographs, doo­dles, and every­thing in between, the book is a care­ful­ly curat­ed jour­ney explor­ing echoes and con­nec­tions across more than two mil­len­nia of visu­al cul­ture. Assem­bled accord­ing to a dream­like log­ic, the images unfurl in a sin­gle unbro­ken sequence, through a play of visu­al echoes and evolv­ing the­mat­ic threads.

While it’s tak­en the best part of a year to cre­ate (a true lock­down baby), this has real­ly been 10 years in the mak­ing — a book born from a decade of deep immer­sion in pub­lic domain archives.

A com­pelling object and expe­ri­ence in its own right, Affini­ties also acts as a launch­pad for fur­ther dis­cov­er­ies and inven­tive engage­ments with the com­mons. It’s metic­u­lous sourc­ing points to works, cre­ators, and col­lec­tions around the world, serv­ing as a gate­way for future for­ays into the dig­i­tal pub­lic domain.

As for the phys­i­cal book itself, we want­ed to cre­ate an object as stun­ning as the images with­in. It is large for­mat (28 x 21.5cm / 11 x 8.5”), boasts a cloth-bound hard­cov­er, with a foil stamped title and embossed inset image, and extends across a whop­ping 368 pages. To help get this beau­ty made and assure the high­est qual­i­ty pro­duc­tion, we are very hap­py to have teamed up with spe­cial­ist art book pub­lish­er Vol­ume, an imprint of Thames & Hud­son.

It’s being sold via a crowd­fun­der and deliv­ery will be ear­ly next year. In addi­tion to the stan­dard edi­tion of the book, we’ve worked with Vol­ume to cre­ate a spe­cial Collector’s Edi­tion (in a slip­case with lim­it­ed edi­tion poster) and also a set of lim­it­ed edi­tion prints. All of the offer­ings are only avail­able dur­ing the cam­paign. 

Learn more, and order your copy, over on the crowd­fun­der page.

Adam Green is co-founder, cre­ator, and main edi­tor of The Pub­lic Domain Review and PDR Press.

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Exquisite Watercolors of Demons, Magic & Signs: Behold the Compendium Of Demonology and Magic from 1775

Noli me tan­gere, says the title page of the Com­pendi­um of Demonolo­gy and Mag­ic: “Do not touch me.” For the book’s tar­get audi­ence, one sus­pects, this was more entice­ment than warn­ing. Writ­ten in Latin (its full title is Com­pendi­um raris­si­mum totius Artis Mag­i­cae sis­tem­a­ti­sa­tae per cele­ber­ri­mos Artis hujus Mag­istros) and Ger­man, the book pur­ports to come from the year 1057. In fact it’s been dat­ed as more than 700 years younger, though to most 21st-cen­tu­ry behold­ers a book from around 1775 car­ries enough his­tor­i­cal weight to be intrigu­ing — espe­cial­ly if, as the Pub­lic Domain Review puts it, it depicts “a var­ied bes­tiary of grotesque demon­ic crea­tures.”

The spec­i­mens cat­a­logued in the Com­pendi­um of Demonolo­gy and Mag­ic are “up to all sorts of appro­pri­ate­ly demon­ic activ­i­ties, such as chew­ing down on sev­ered legs, spit­ting fire and snakes from gen­i­talia, and parad­ing around decap­i­tat­ed heads on sticks.”

Grotesque­ly com­bin­ing fea­tures of man and beast, these hideous chimeras are ren­dered in “more than thir­ty exquis­ite water­col­ors” that still look vivid today. In fact, with their punk­ish cos­tumes, insou­ciant expres­sions, and often inde­cent­ly exposed nether regions, these demons look ready and will­ing to cause a scan­dal even in our jad­ed time.

Near­ly two and a half cen­turies ago, we might fair­ly assume, a greater pro­por­tion of the pub­lic believed in the exis­tence of demons — if not these spe­cif­ic mon­strosi­ties, then at least the con­cept of the demon­ic in gen­er­al. But we’re sure­ly lying to our­selves if we believed that nobody in the 16th cen­tu­ry had a sense of humor about it. Even the work of this book’s unknown illus­tra­tor evi­dences, beyond for­mi­da­ble artis­tic skill and wild imag­i­na­tion, a cer­tain comedic instinct, seri­ous busi­ness though demon­ic inten­tions toward human­i­ty may be.

With its less humor­ous con­tent includ­ing exe­cu­tion scenes and instruc­tions for the pro­ce­dures of witch­craft from div­ina­tion to necro­man­cy, the Com­pendi­um of Demonolo­gy and Mag­ic belongs to a deep­er tra­di­tion of books that elab­o­rate­ly cat­a­log and depict the vari­eties of super­nat­ur­al evil. (A much old­er exam­ple is the Codex Gigas, pre­vi­ous­ly fea­tured here on Open Cul­ture, a “Dev­il’s Bible” that also hap­pens to be the largest medieval man­u­script in the word.)

You can behold more of these delight­ful­ly hell­ish illus­tra­tions at the Pub­lic Domain Review and even down­load the whole book free from the Well­come Col­lec­tion. (See a PDF of the entire book here.) And no mat­ter how close­ly you scru­ti­nize your dig­i­tal copy, you won’t run the risk of touch­ing it.

The Com­pendi­um of Demonolo­gy and Mag­ic is one of the many texts fea­tured in The Madman’s Library: The Strangest Books, Man­u­scripts and Oth­er Lit­er­ary Curiosi­ties from His­to­ry, a new book fea­tured on our site ear­li­er this week.

via Pub­lic Domain Review

Relat­ed Con­tent:

The Foot-Lick­ing Demons & Oth­er Strange Things in a 1921 Illus­trat­ed Man­u­script from Iran

1,600 Occult Books Now Dig­i­tized & Put Online, Thanks to the Rit­man Library and Da Vin­ci Code Author Dan Brown

Help a Library Tran­scribe Mag­i­cal Man­u­scripts & Recov­er the Charms, Potions & Witch­craft That Flour­ished in Ear­ly Mod­ern Europe and Amer­i­ca

Behold the Codex Gigas (aka “Devil’s Bible”), the Largest Medieval Man­u­script in the World

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Strangest Books in the World: Discover The Madman’s Library, a Captivating Compendium of Peculiar Books​ & Manuscripts

If you are a fre­quent read­er of Open Cul­ture, or the many blogs we tend to read — espe­cial­ly those con­cerned with the rare, unusu­al, and obscure — it’s like­ly you’ve encoun­tered some of the books in The Madman’s Library, Edward Brooke-Hitching’s fan­tas­tic new vol­ume of lit­er­ary odd­i­ties. If not, you’re prob­a­bly famil­iar with a few of the cat­e­gories he iden­ti­fies under his sub­ti­tle, “The Strangest Books, Man­u­scripts and Oth­er Lit­er­ary Curiosi­ties from His­to­ry.” These include “Books Made of Flesh and Blood,” such as a Qur’an writ­ten in 50 pints of Sad­dam Hussein’s blood. If such arti­facts don’t qual­i­fy as “lit­er­ary curiosi­ties,” it’s hard to know what does.

Brooke-Hitch­ing grants the des­ig­na­tion “curios­i­ty” is sub­jec­tive, and cul­tur­al­ly deter­mined, “but after near­ly a decade of search­ing through cat­a­logues of libraries, auc­tion hous­es and anti­quar­i­an book deal­ers around the world,” he writes in his intro­duc­tion,” works of unde­ni­able pecu­liar­i­ty leapt out.”

Or as he tells Smith­son­ian in an inter­view, “the more books you see, the more your radar is sen­si­tive to some­thing that pings with its strange­ness.” He pulls out the first book in his bag as an exam­ple: a self-pub­lished col­lec­tion of poet­ry by Char­lie Sheen.

Per­haps few oth­er peo­ple have laid eyes on such an enor­mous col­lec­tion of odd­ball bib­li­o­graph­ic trea­sures. These are not only books made of strange — and even dead­ly — mate­ri­als; they are also books whose con­tents or his­to­ries are just plain weird.

The chap­ter ‘Curi­ous Col­lec­tions’… fea­tures sim­i­lar projects of obses­sive ded­i­ca­tion, from medieval man­u­scripts of fan­tas­tic beasts, and guides to crim­i­nal slang of Geor­gian Lon­don (with plen­ty of las­civ­i­ous high­lights pro­vid­ed), to Cap­tain Cook’s secret ‘atlas of cloth’ and the unex­pect­ed­ly homi­ci­dal sto­ry of the ori­gin of the Oxford Eng­lish dic­tio­nary. Else­where, ‘Lit­er­ary Hoax­es’ presents the best of the ancient tra­di­tion of decep­tive writing–lies in book form–whether it be for satire, self pro­mo­tion or as an instru­ment of revenge.

Of the lat­ter, Brooke-Hitch­ing cites Jonathan Swift’s series of pam­phlets writ­ten under a pseu­do­nym, “a suc­cess­ful cam­paign to con­vince all of Lon­don of the pre­ma­ture death of a char­la­tan prophet he despised.” In a chap­ter titled ‘Works of the Super­nat­ur­al,’ Brooke-Hitch­ing gives us the exam­ple of W.B. Yeats’ wife George, who tran­scribed “4000 pages of spir­i­tu­al dic­ta­tion in the first three years of their mar­riage.” Her auto­mat­ic writ­ing was pub­lished in a com­pi­la­tion called A Vision in 1925, but “through sev­en edi­tions it was only Yeats’ name” on the title page.

There are ‘Books that aren’t Books,’ such as a skull inscribed with a prayer and a col­lec­tion of auto­bi­o­graph­i­cal frag­ments embroi­dered on the linen jack­et of an incar­cer­at­ed seam­stress; there are ‘Cryp­tic Books” like the Voyn­ich Man­u­script and poet­ry writ­ten in code. Part lit­er­ary detec­tive sto­ry, part bib­li­o­graph­ic odyssey through time, part lit­er­ary curios­i­ty all its own (though more of the cof­fee-table vari­ety), The Madman’s Library is a feast for bib­lio­philes and odd­balls of all kinds. Pick up a copy here and see sev­er­al more of excep­tion­al­ly curi­ous books over at Smith­son­ian.

Relat­ed Con­tent: 

Explore Online the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

A Medieval Book That Opens Six Dif­fer­ent Ways, Reveal­ing Six Dif­fer­ent Books in One

Won­der­ful­ly Weird & Inge­nious Medieval Books

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The History of Tattoos Gets Beautifully Documented in a New Book by Legendary Tattoo Artist Henk Schiffmacher (1730–1970)

I always think tat­toos should com­mu­ni­cate. If you see tat­toos that don’t com­mu­ni­cate, they’re worth­less. —Henk Schiff­mach­er, tat­too artist

Tat­too­ing is an ancient art whose grip on the Amer­i­can main­stream, and that of oth­er West­ern cul­tures, is a com­par­a­tive­ly recent devel­op­ment.

Long before he took upor went undera tat­too nee­dle, leg­endary tat­too artist and self-described “very odd duck type of guy,” Henk Schiff­mach­er was a fledg­ling pho­tog­ra­ph­er and acci­den­tal col­lec­tor of tat­too lore.

Inspired by the immer­sive approach­es of Diane Arbus and jour­nal­ist Hunter S. Thomp­son, Schiff­mach­er, aka Han­ky Panky, attend­ed tat­too con­ven­tions, seek­ing out any sub­cul­ture where inked skin might reveal itself in the ear­ly 70s.

As he shared with fel­low tat­too­er Eric Per­fect in a char­ac­ter­is­ti­cal­ly rol­lick­ing, pro­fane inter­view, his instincts became honed to the point where he “could smell” a tat­too con­cealed beneath cloth­ing:

The kind of tat­toos you used to see in those days, you do not see any­more, that stuff made in jail, in the Ger­man jails, like, you’d like see a guy who’d tat­tooed him­self as far as his right hand could reach and the whole right (side) would be empty…I always loved that stuff which was nev­er meant to be art which is straight from the heart.

When tat­too artists would write to him, request­ing prints of his pho­tos, he would save the let­ters, telling Hero’s Eric Good­fel­low:

I would get stuff from all over the world. The whole enve­lope would be dec­o­rat­ed, and the let­ter as well. I have let­ters from the Leu Fam­i­ly and they’re com­plete pieces of art, they’re hand paint­ed with all kinds of illus­tra­tions. Also peo­ple from jail would write let­ters, and they would take time to write in between the lines in a dif­fer­ent colour. So very, very unique let­ters.

Such cor­re­spon­dence formed the ear­li­est hold­ings in what is now one of the world’s biggest col­lec­tions of con­tem­po­rary and his­tor­i­cal tat­too ephemera.

Schiff­mach­er (now the author of the new Taschen book, TATTOO. 1730s-1970s) real­ized that tat­toos must be doc­u­ment­ed and pre­served by some­one with an open mind and vest­ed inter­est, before they accom­pa­nied their recip­i­ents to the grave. Many fam­i­lies were ashamed of their loved ones’ inter­est in skin art, and apt to destroy any evi­dence of it.

On the oth­er end of the spec­trum is a por­tion of a 19th-cen­tu­ry whaler’s arm, per­ma­nent­ly embla­zoned with Jesus and sweet­heart, pre­served in formalde­hyde-filled jar. Schiff­mach­er acquired that, too, along with vin­tage tools, busi­ness cards, pages and pages of flash art, and some tru­ly hair rais­ing DIY ink recipes for those jail­house stick and pokes. (He dis­cuss­es the whaler’s tat­toos in a 2014 TED Talk, below).

His col­lec­tion also expand­ed to his own skin, his first can­vas as a tat­too artist and proof of his ded­i­ca­tion to a com­mu­ni­ty that sees its share of tourists.

Schiffmacher’s com­mand of glob­al tat­too sig­nif­i­cance and his­to­ry informs his pref­er­ence for com­mu­nica­tive tat­toos, as opposed to obscure ice break­ers requir­ing expla­na­tion.

When he first start­ed con­ceiv­ing of him­self as an illus­trat­ed man, he imag­ined the delight any poten­tial grand­chil­dren would take in this graph­ic rep­re­sen­ta­tion of his life’s adven­tures“like Pip­pi Long­stock­ing’s father.”

While his Tat­too Muse­um in Ams­ter­dam is no more, his col­lec­tion is far from moth­balled. Ear­li­er this year, Taschen pub­lished TATTOO. 1730s-1970s. Henk Schiff­macher’s Pri­vate Col­lec­tion, a whop­ping 440-pager the irre­press­ible 69-year-old artist hefts with pride. You can pur­chase the book direct­ly via Ama­zon.

Relat­ed Con­tent: 

Meet Amer­i­ca & Britain’s First Female Tat­too Artists: Maud Wag­n­er (1877–1961) & Jessie Knight (1904–1994)

Why Tat­toos Are Per­ma­nent? New TED Ed Video Explains with Ani­ma­tion

Browse a Gallery of Kurt Von­negut Tat­toos, and See Why He’s the Big Goril­la of Lit­er­ary Tat­toos

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er, the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and the human alter ego of L’Ourse.  Fol­low her @AyunHalliday.

Women Street Photographers: The Web Site, Instragram Account & Book That Amplify the Work of Women Artists Worldwide

It’s almost impos­si­ble not to won­der how reclu­sive artists of the past — like anony­mous street pho­tog­ra­ph­er and Chica­go nan­ny Vivian Maier — would fare in the age of Tum­blr and Insta­gram. Would Maier have become inter­net famous? Would she have post­ed any of her pho­tographs? The lit­tle we know about her makes it hard to answer the ques­tion. Maier lived a life of abstemious self-nega­tion. “She nev­er exhib­it­ed her work,” Alex Kot­lowitz writes at Moth­er Jones, “she didn’t share her pho­tos with any­one, except some of the chil­dren in her care.”

And yet, Maier was known to enjoy con­ver­sa­tions about film and the­ater with knowl­edge­able peo­ple. One sus­pects that if she had been able to stay in touch with like minds, she might have been encour­aged by a sup­port­ive com­mu­ni­ty she couldn’t find any­where else. We might imag­ine her, for exam­ple, sub­mit­ting a select few pho­tographs to Women Street Pho­tog­ra­phers, a project that began in 2017 as an Insta­gram account and has since “bur­geoned into a web­site, artist res­i­den­cy, series of exhi­bi­tions, film series, and now a book pub­lished this month by Pres­tel,” Grace Ebert writes at Colos­sal.

For women street pho­tog­ra­phers liv­ing and work­ing today, the project offers what founder Gul­nara Samoilo­va says she need­ed and couldn’t find: “I soon began to real­ize that with this plat­form, I could cre­ate every­thing I had always want­ed to receive as a pho­tog­ra­ph­er: the kinds of sup­port and oppor­tu­ni­ties that would have helped me grow dur­ing those for­ma­tive and piv­otal points on my jour­ney.” The project is inter­na­tion­al in scope, bring­ing togeth­er the work of 100 women from 31 coun­tries, “a tiny sam­pling of what’s out there.”

In her intro­duc­tion to the 224-page book, Samoilo­va describes the impor­tance of such a col­lec­tion:

Street pho­tog­ra­phy is both a record of the world and a state­ment of the artist them­selves: it is how they see the world, who they are, what cap­tures their atten­tion, and fas­ci­nates them. There’s a won­der­ful mix­ture of art and arti­fact, poet­ry and tes­ti­mo­ny that makes street pho­tog­ra­phy so appeal­ing. It’s both doc­u­men­tary and fine art at the same time, yet high­ly acces­si­ble to peo­ple out­side the pho­tog­ra­phy world.

There are Vivian Maiers around the world dri­ven to doc­u­ment their sur­round­ings, whether any­one ever sees their work or not. Maier made her pho­tographs “for all the right rea­sons,” says Chica­go artist Tony Fitz­patrick. “She made them because to not make them was impos­si­ble. She had no choice.” But per­haps she might have cho­sen to show her work if she had access to plat­forms like Women Street Pho­tog­ra­phers. We can be grate­ful for such out­lets now: they offer per­spec­tives that we can find nowhere else. Women Street Pho­tog­ra­phers will announce the win­ners of its inau­gur­al vir­tu­al exhi­bi­tion “on or around April 1.”

via Colos­sal

Relat­ed Con­tent: 

Meet Ger­da Taro, the First Female Pho­to­jour­nal­ist to Die on the Front Lines

Take a Visu­al Jour­ney Through 181 Years of Street Pho­tog­ra­phy (1838–2019)

Vivian Maier, Street Pho­tog­ra­ph­er, Dis­cov­ered

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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