The International Medieval Congress in Kalamazoo - A Review

Kalamazoo in May (detail). Image: Yin Liu, 2013.

The International Medieval Congress held annually in Kalamazoo, Michigan is well-known by all of its regular attendees for being a unique combination of rigorous scholarship, expertise, and answer-seeking tainted with ribaldry, camaraderie, and an incorrigible excitement for books and imbibing. This year, May 2015, marked the 50^th anniversary since the congress’ inception. I was fortunate enough to attend, playing the part of an envoy on behalf of the Medieval Codes project from the University of Saskatchewan. Approximately 3,000 medieval scholars gather at the congress which itself features more than 550 sessions of papers, panel discussions, round tables, workshops, and performances. Evening meetings and receptions are sponsored by academic institutions and societies. Nearly 70 exhibitors, including publishers, used book dealers, as well as artists and craftsmen fill the exhibits hall with their wares.

Writing as encoding

Unicorn seal from Harappa, c. 2200 BC. Image: Harappa.com.

This project explores the history of medieval information technology by modelling writing as code. But what, exactly, does writing encode? Answers to this question are complex, significant, and richly productive.

what does writing encode?

The easy answer is that writing encodes information. The earliest forms of writing seem to have been used for accounting. However, there is some debate among historians of writing over whether visual semiotic systems that encode non-linguistic information should be considered ‘writing’. This is perhaps a semantic quibble, but it underlines a very important historical development: at some point, every writing system commonly used today was adapted for linguistic information. Since the most commonly and frequently used method that humans use to create, store, transmit, and process information is verbal – that is, humanly usable information is mostly linguistic – this tight linkage of writing and language became overwhelmingly powerful. It is easy to think of writing only as a representation of language, and of spoken language in particular.

The marvels of Hesdin

Now that April 1 is well past, it’s probably safe to try this little diversion about something weird and wacky from the Middle Ages: the entertainment mechanisms of Hesdin Castle.

Image: Rob Zeldenrust.

[Image, left: detail of Wedding Party at the Park of Hesdin, 16th-century copy of a lost original possibly by Jan van Eyck.]

Hesdin was built by Count Robert II of Artois (1250-1302). It was, sadly, demolished in the 16th century. Our fullest account of the contraptions installed in the castle and its park comes from the accounts of the dukes of Burgundy, who spent a greal deal of money on the renovation and upkeep of Hesdin. In particular, an entry from the accounts of 1432 describes in detail the mechanisms on which Duke Philip the Good of Burgundy spent 1,000 livres to renovate or install, paid out to valet-de-chambre and painter Colard le Voleur:

Reading twitchily, then and now

A physician reading. Image: US National Library of Medicine.

[Right: Historiated initial from the Articella. Bethesda, United States National Library of Medicine, MS of the Articella, fol. 19v. Oxford, 13th century.]

After expressing all kinds of scepticism in two previous posts (here and here) about Paul Saenger’s arguments concerning word separation, I think it only fair to lay out an aspect of reading with spaces that, according to more recent studies on the neuropsychology of reading, Saenger got (mostly) right. It has been empirically demonstrated that word separation by space does speed up reading for skilled adult readers. Furthermore, it does so in a range of writing systems, including writing systems that use scriptio continua, that is, those that do not conventionally separate words by space, such as Chinese or Thai. In other words, even when skilled readers of such scripts are confronted with unconventionally word-separated text, they process the text more quickly.

10 best from the Macclesfield Psalter

And now a post from Medieval Codes team member Courtney Tuck:

The Macclesfield Psalter is a manuscript with very unusual marginal illustration. The manuscript was created around 1330 in the region of East Anglia, Britain. It is currently housed in the Fitzwilliam Museum in Cambridge. The absurdity, grotesques, anthropomorphized animals and scatological humour in this manuscript’s marginalia are all as surprising as they are enjoyable. It is an interesting look at what was funny and amusing to the medieval reader of this region. The role of marginal illustration has been identified by scholars as being a mnemonic device, which was especially helpful before pagination was developed. Odd and memorable images, often having nothing to do with the actual text on the page, help one differentiate and remember the location of pages and passages.

For your enjoyment, I have compiled my personal top 10 most memorable marginal illustrations from the Macclesfield Psalter. Some of the more rude images were left out of the list, though they are still worth finding and giggling to oneself over….

10 – This owl has no idea what’s about to hit him. Or perhaps he does….? This scene seems almost cartoonish. The owl’s expression reminds me of a Warner Brothers cartoon. That moment when Wiley E. Coyote has gone off the cliff, but not fallen, he looks at the audience and gives a knowing look or perhaps a small wave before he falls. Poor owl!