7 text-madsen-correia

the art + science of seeing issue 7 TEXT

C O N T E N T S issue 7 T E X T winter 20119 20 30 34 9 REadInG EuRoPE’S PaLEoLIThIC 34 anaToMy of TEXTuRE WRITInG: Gönnersdorf Platte 87 Matthew Reed Donald Thomas Burgy 42 aCTIvaTInG PRayERS: Textual landscapes 19 (RE)view of the Tibetan Buddhist diaspora Prospero’s Books Christine McCarthy Madsen ivy Moylan with photographs by Robert Correia, Jr. 20 aESThETIC InnovaTIon In 54 nEGaTEd nEWS: hISToRIES’ RanSoM IndIGEnouS TyPEfaCES: noTES: an interview with visual artist designing a Lushootseed font Megan Michalak Juliet Shen Carolyn Arcabascio and Megan Hurst 30 dySLEXIa: a mind for typography Matthew H. Schneps

Gl mpse 42 54 69 7869 MaPPInG TEXT the Text issue playlist online André Skupin the GLiMPSe blog78 RETROSPECT ca. 1865 TEXT aS IMaGE: a Portrait of abraham Lincoln Georgia B. Barnhill80 ThE SyMBoLIC WaRnInG Ryan Sullivan TM the art + science of seeing (Front cover image) Photograph of typewriter: “underwood Issue 7, winter 2011 Standard: Portable typewriter with unusual ‘double shift’ giving 3 characters per key,” 2008, by flickr member John Nuttall. (Back cover) “Watch,” 2010. Graffiti paste-up, Bradford Street, Deritend, Birmingham, england, by AsOne - Street Artist, TEXT illustrator and Graphic Designer: http://www.AsOneArts.com Photograph by flickr member elliott Brown.

78CONTRIBUTORS Georgia B. Barnhill university, Milton academy the heart of all the disciplines, has been at the american and Massachusetts College and re-focus the work of antiquarian Society since of art. Critics describe his librarians on creating a space the fall of 1968 and was work as Conceptual art. for the transformation of the curator of the graphic he exhibited in informa- information into knowledge. arts department from tion (1970) at the Museum her dissertation project was a 1969 to 2009. during of Modern art, which was critical analysis of the impact those many years, she a survey of concept art. of digitization on scholarship lectured and published Recently he completed a and practice in the Tibetan extensively on aspects of series of forty works of art and himalayan region, but her the Society’s print and il- that translate engravings larger research agenda is to lustrated book collections by earliest humans, 30,000 recapture an integrated space for audiences in the uS to 10,000 years ago. in and from which to study and abroad. among her The work reproduced in the future of libraries. Madsen recent accomplishments GLiMPSe is the first in the just completed her doctorate is a definitive descriptive series. degree at the oxford Internet bibliography of books Institute of the university of 42 and articles on american oxford. prints of the 18th and 19th Robert Correia, Jr. is an centuries. as director of amateur photographer and the Center for historic american visual Culture, outdoor enthusiast, who de- lights in all manner of non- 54 Megan Michalak is an interdisciplinary artist she places the demys- motorized exploration. Rob whose studio practice spans 4 tification of images for historians and others at has acquired over 20 years of financial management sculpture, new media, performance and drawing. the center of a number of experience, by education She lives in new york state GLIMPSE www.glimpsejournal.com activities. and employment at ocean where she is an assistant Spray Cranberries, Inc., a professor at State university 9 fortune 500 grower-owned of new york (Suny), Buf- Donald Thomas Burgy cooperative, and most falo. her works have been is the only child of helen recently at the u.S. depart- exhibited internationally at Stebler and Lucien Burgy ment of homeland Security. the Moscow Biennale for who fled World War I from his interest in public service young art, Galleria Titanik alsace to new york. he has lead to appointments in finland, fonds Regional was born in Manhattan in as a volunteer firefighter, d’art Contemporain in 1937. his first one-man a relief worker for fEMa Montpelier france, and art exhibition was at age following hurricane Katrina, the Bronx Museum of eight. Joy Renjilian of and a Sierra Club backpack- the arts, among others. holyoke, Massachusetts ing trip leader. he lives in Interviews with the artist and he married in 1966. a bungalow in the woods have appeared on the yLE Their twin sons, Lucien of southeastern Massachu- Television national news Boston Sky and Sarkis setts. of finland, and yLE Radio Boston Sky, were born in Turku. Michalak received 42 1974. Burgy has taught an Mfa in Sculpture from art in Chicopee, Mass., Dr. Christine McCarthy Bard College, and an Mfa Rutgers university, Madsen is a librarian and in Studio for Interrelated Brentwood, n.y., Bradford academic whose research Media from the Massachu- Junior College, harvard aims to re-center libraries at setts College of art.

34Dr. Matthew Reed has beenan imaging scientist for over 20 Juliet Shen was born and raised in new york and now of high-dimensional data. he has developed new visualtwenty years and specializes lives in Seattle, Washington, data mining approaches forin image analysis, quantitative where she has an inde- diverse data sources, frommicroscopy and stereol- pendent design firm and large text document col-ogy. he has cofounded two teaches typography at the lections to crime statisticscompanies, QuanToxPath School of visual Concepts. and environmental sensorLtd and Spiral Scratch Ltd, In 2005–2006 she closed data. his research is stronglyand is a visiting professor at her doors for one year and interdisciplinary, aimedthe university of ulster, uK. moved to England to earn a especially at increased cross-Matt recently re-designed, master’s degree in typeface fertilization between geogra-re-typeset and reprinted design at the university of phy, information science, andthe stereology handbook Reading. her typefaces in- computer science.he coauthored with vyvyan clude Bullen (font Bureau), 80howard in 1998. The book is inspired by early americanstill selling well, is used in nu- foundry type; Earlybird (ox- Ryan Sullivan has beenmerous training courses and ford university Press), for drawing since he developedhas more than 900 academic primary level readers; and thumbs in the womb. after issue 7citations. Matt lives in West Lushootseed School (Tulalip being yelled at for obsessive-Kirby, on the northwest coast Tribes of Washington), a ly doodling during class forof the uK, with his wife dawn, native american font. She the better part of 12 years, Textdaughter Lorna and son Ben. has a special interest in he enrolled in the Illustration american type history and program at the university of30 5 recently organized the first Massachusetts in dartmouthDr. Matthew H. Schneps Type americana conference and graduated in 2008.studied calligraphy as a in Seattle. She is a some- Though he tends towardchild in Japan, and thanks times letterpress printer creating comics, primar-to his father who was and a dedicated student of ily about crows that smokehead of design at a major tai chi. butts, he is also available forpublishing house, grew up copious amounts of freelance 69in a home surrounded by work. he currently lives intypography. Schneps has a Dr. André Skupin is Weymouth, MassachusettsPhd in Physics from MIT, and an associate professor with his fiancée, Rachel, andis an astrophysicist at the of Geography at San an ungrateful Boston Terrierharvard-Smithsonian Center diego State university. named nickels.for astrophysics (Cfa). he received a master’sThere, he was co-director of degree in Cartography atthe Wolbach Image Process- the Technical universitying Laboratory, and found- dresden, Germany, and aing director of the Science Phd in Geography at theMedia Group, where he State university of newcreates television and other york (Suny), Buffalo. dr.visual media. he is founding Skupin’s core research areadirector of the Laboratory involves leveraging geo-for visual Learning, conduct- graphic metaphors, car-ing research in the neurosci- tographic principles, andence of visual perception computational techniquesand learning. towards the visualization

Activating Prayers Textual landscapes of the Tibetan Buddhist diaspora by Christine McCarthy Madsen photographs by Robert Correia Jr.42GLIMPSE www.glimpsejournal.com

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T hroughout the Tibetan diaspora, text permeates Beyond the visible, the reverence for text continues not only the culture, but the landscape. as further still—practitioners circumambulate the the result of thousands of years of respect library, prayer wheels contain strips of written and reverence for the written word in all of its mantras and prayers repeated thousands of forms and instantiations, text in the form of prayers and times, and library collections often house small mantras serve as a quotidian reminder of the importance shrines as well as texts, blurring the line between of textual knowledge in the practice of Tibetan Buddhism. library and temple. While this sort of deep cultural and spiritual relationship with text is only beginning to be studied and understood by Western scholars, it is apparent and striking in even the shortest visit to areas of the Tibetan diaspora. The integration of text into the physical and non- physical surroundings of practitioners is said to be a means of integrating prayers into daily life. Monks and lay people walk past these spiritual texts routinely. It becomes habit to spin prayer wheels when passing by them. Each of these movements and acts is said to bring the textual 44 prayers to life. While the saturation of texts into one’s surroundings is thought to be a means of daily integration, there are also particular activities that serve to emphasize a special engagement In dharamsala, India, and the Boudhanath section of with text. The act of copying out texts, in Kathmandu, text is visible everywhere—prayer flags contain particular, has long been considered a good or written texts, rocks are carved with prayers and mantras, meritorious deed, and is indeed tied to some books are placed on altars, and images in temples often of the earliest teachings of the Buddha. The contain scenes of reading and studying. 1 Lotus Sutra, which is often quoted in Tibetanskywriting T he Boy Who Wrote Sutras on the Sky is a centuries-old story of a boy who heard of the great merit that comes from writing out the Diamond Cutter Sutra. Too poor to afford paper and pen, he eventually writes the Sutra on the sky. “Then, in the space of the outline that he had fashioned, the rough grass became soft, the flowers had a sweet fragrance, and in neither day nor night was there frost, hail, wind, or rain—all through the blessing power of writing the holy object.”3 Many Westerners may have been introduced to secular skywriting with the Wicked Witch’s broomstick-in-the-sky scribbling of “SURRENDER DOROTHY” in The Wizard of Oz, but the first form of airplane skywriting was seen in England, courtesy of John C. Savage. In 1922, Savage hired Captain Cyril Turner to write “Daily Mail” over England and subsequently, “Hello USA” over New York. Soon after, the American cigarette maker, Lucky Strike, adopted skywriting for marketing purposes, and the Pepsi-Cola Corporation followed suit. Skywriting is typically performed by one plane that can write up to around six characters. It is accomplished by heating low-viscosity oil to 1500 degrees using the aircraft’s engine exhaust, where the oil is then vaporized, thus creating the plumes of white letters you see against the blue sky. Typically, the letters are around 1 mile high, take about 1 to 1 and 1/2 minutes to create, usually last about 20 minutes and can be seen for 30 miles. Skytyping is somewhat of an improvement on the skywriting medium. Using an array of planes, skytyping emits biodegradable vapor puffs in a dot-matrix pattern; an onboard computer controls the sequencing of the vapor that forms the letters in the sky. - Christine McCarthy Madsen / Rachel Sapin

Buddhism in defense of the worshipof textual scriptures, says: If a good man or good woman shall receive and keep, read and recite, explain or copy in writing a simple phrase of the Scripture of the Dharma Blossom . . . that person is to be looked up to and exalted by all the worlds, [and] showered with offerings fit for a Buddha. . . . Let it be known that that person is a great bodhisattva.2So strongly associated are texts andwriting with good deeds that both theact and the medium are consideredboth economically important andsacred. Printing on water—where the issue 7 Textcharacters of prayers and mantras areslapped out on the water—and printingon the sky are both practiced as well asbeing the center of important Tibetanlegends.3 Great value is placed onlearning to read at a young age, and 45paper has always been an importanteconomic commodity. It is not only theact of copying out a text, but also theact of commissioning a copy of a textthat holds merit for the actor.While the act of copying out a text byhand is laudable,4 the act of printing bymechanical means has also been con-sidered meritorious. Just as the use oftext is heavily embedded in the cultureand practice of the Tibetan diaspora,so too is the use of technology; and(Left) Mani stones, circumambulationtrail, dharamsala, India. (Above right)Tibetan book, Library of Tibetan Worksand archives. (Below right) a young monkreads on a balcony, Gyuto Tantric university,outside dharamsala, India. Photographscourtesy of Robert Correia Jr.

one of the first and lon- If you recite ten malas7—a thousand mantras—a day, then when you go to wash in the river or at the beach, gest associations of the all the water becomes blessed. Because your body is diaspora with technology blessed by the mantra, all the water becomes blessed as it touches your body, and so the water purifies all the is through the mechanical animals who live in the water, who drink the water, and reproduction of texts. those who touch the water.8 I f in Tibetan Buddhism, to copy a text is to do a good deed and to earn merit, then to automate the copying of that text is to do the same, only fast- er and more efficiently. This notion often seems counterintuitive to Westerners who are inclined to romanticize Tibet as pure and untainted by modern technologies; but the truth is that Tibet has long had a love affair with automating the reproduction of texts. Block printing is known to have existed in Tibet and China from the 9th or46 10 th century, with the first major commissions for larger texts (under the patronage of the Mongols)GLIMPSE www.glimpsejournal.com in place by the 13th century.5 There is also some evidence that the Tibetans were using an early form of moveable type as early as the 13th century for the mass production of prayer flags.6 By the end of the 13th and beginning of the 14th centuries, there was the mass printing of the Kanjur This statement indicates the extreme power imbued within the and Tenjur (which together compose the Tibetan recitation of simple prayers or mantras in Tibetan Buddhism. Buddhist cannon). It illustrates both the qualities with which these prayers are infused, but more importantly, the power ascribed to the This view of how technology has been used to quantity of repetition. Like with the reproduction of text, if automate the reproduction of texts illustrates more mantras means more merit, to automate the recitation the beginning of an ongoing affinity for of mantras makes good sense. Prayer flags are one form of combining technology and text. The next steps such automation. Prayers are printed onto thin and loosely in technological automation are closely aligned woven squares of cloth, which are hung outside. as the wind with the significance of recitation of prayers passes through and around the flags, it is said to release the and mantras in Tibetan Buddhist practice. Like prayers printed on them into the wind and to bless anyone writing or copying out the sutras, recitation is seen as another means of engaging with text that (Above Left) Prayer flags, dharamsala, India. (Above and Right) produces meritorious results. Wrapped, stored texts, Library of Tibetan Works and archives. Photographs courtesy of Robert Correia Jr.

47issue 7 Text

GLIMPSE www.glimpsejournal.com 48

passing by.9 If reciting a mantra or prayer releases it, Most prayer wheels are turned by hand, and canthen prayer flags can in some ways be thought of as be seen as a common form of technology usedautomating this process. to deliver more mantras than could be read or recited manually. Taking the notion of automationW hile prayer flags perform the recitation of one step further, the prayer wheels themselves a mantra or prayer through wind power, are frequently automated. Some are turned byprayer wheels are able to automate the recitation of water, others by the warmth of a lamp or even athousands of mantra in only a few seconds. Prayer light bulb.wheels appear as metal cylinders inscribed or paintedwith a mantra around the outside and set atop adowel or turning mechanism. Inside all of them are G iven this long and productive history of automating the reproduction and recitation of text, it should come as no surprise, then, thatmantras (most commonly, om mani padme hum)written or printed hundreds or thousands of times on the adoption of digital texts in this diaspora hasscrolls of paper wound tightly into the center of the been so common. If the goal is quantity, thenwheel. The size of the prayer wheels vary from a few digital media have some tremendous benefits. issue 7inches to many feet. Small prayer wheels are perchedatop a handle and contain a weighted lanyard to Early forms of digital media share the sameprovide momentum and to assist in the spinning of spinning quality of prayer wheels, even the same Textthe wheel; they are carried by practitioners who spin clockwise direction. Taking this to the next step,them in a clockwise direction as they walk—also rumours abound on the Internet that the daliaalways clockwise—around a sacred space such as a Lama himself has said that having a digital prayer wheel—or even just the text of the mantra om 49temple, monastery, or library. Larger prayer wheels mani padme hum on your spinning hard drive is theare affixed to walls, while the largest (several feet same as using a traditional prayer wheel.11 fromin height) are placed in small rooms by themselves. this idea, copious animated GIf files, computerThese wheels are turned by passing practitioners as applets, gadgets, and widgets have appearedthey follow circumambulation trails. to fulfill the practice of setting text into motion with the greatest ease. animated illustrations ofJust as prayers are released onto the wind from prayer wheels, opened in web browsers will spinflags, mantras inside of prayer wheels are said to be in a clockwise direction.released through the rotation of the wheel. To spin aprayer wheel is the equivalent of reciting each of the Some Western practitioners of Tibetan Buddhismmantras written inside. In the words of the amitabha have taken this notion of digital prayer wheels toBuddha, “anyone who recites the six syllables while an extreme through the manufacture of prayerturning the dharma wheel at the same time is equal wheels filled with dvds each containing millionsin fortune to the Thousand Buddhas.”10 In this way of mantras.12 Each prayer wheel contains 128the prayer wheel can be seen as a powerful means dvds, for a total of over 1.8 trillion prayers.13of automating the recitation of mantras. While not typical of the Tibetan diaspora, when(Far left, above) Large prayer wheel, Macleod Ganj, viewed in the context of the long affinity of theoffices of the exiled Tibetan government. (Far left, below) Tibetan Buddhists with automating the repetitionBuddhist practitioners in dharamsala, India circumam- and reproduction of texts, the Tibet-Tech™ Prayerbulate the Library of Tibetan Works and archives. (Left) Wheel does not seem incongruous.Circumambulating the library. Photographs courtesy ofRobert Correia Jr.

50 The Library of Tibetan Works and Archives. (Above left) Digitized texts displayed on a computer moniter, The Library of Tibetan Works and Archives. (Left center) Tibetan book, being used to check against digitized versions, The Library of Tibetan Works and Archives. (Below left) A monk at Shechen monastery in Kathmandu Nepal transcribes a Tibetan text into the computer to make it searchable. (Right) The Library of the Tibetan Works and Archives contains a small shrine. On the table in the foreground is a single book removed from the shelf. Photographs courtesy of Robert Correia Jr.

51issue 7 Text

If prayer flags, prayer wheels and printed and ENDNOTES carved mantras are all ways of integrating text into 1. Boudhanath is a section of northeast Kathmandu that is famous for its giant stupa. Located on the traditional trade daily life, then the adoption of digital technologies route from Tibet to the Kathmandu valley, it has been a can also be seen as an extension of this principle. pilgrimage site for Tibetan Buddhists since at least 450 BCE, before Kathmandu was established. It is now home to at least daily life for many around the world now takes 50 Tibetan Buddhist monasteries. http://en.wikipedia.org/ place in front of a computer, so does it not make wiki/Boudhanath sense for that space to contain these same 2. Schaeffer, Kurtis. 2009. The Culture of the Book in Tibet. new york: Columbia university Press: 5. integrations? Considered from this perspective, 3. Schaeffer, Culture of the Book: 147. the leap from stone to paper to digital bits does 4. See in particular, vesna Wallace in Stephen C. Berkwitz, not seem inconsistent and may provide a reason Juliane Schober and Claudia Brown (eds.). 2009. “diverse for the early adoption and widespread uptake aspects of the Mongolian Buddhist Manuscript Culture and Realms of its Influence,” in Buddhist Manuscripts Cultures: of digitized texts in this field. Projects to digitize Knowledge Ritual and Art. abingdon: Taylor & francis: 76-94. Tibetan texts are now widespread throughout the 5. The earliest known printed book in the world, is in fact a Buddhist sutra, or teaching. The diamond Sutra (http://www. field of Tibetan and himalayan Studies.14 w bl.uk/onlinegallery/hightours/diamsutra/) is a central teaching of Indian Buddhism and was first translated from Sanskrit into Chinese in about 400 ad. This copy of the diamond Sutra was found in the caves of dunhuang and is the earliest block print to contain a date: 11 May 868. (Right) Prayer flags, dharamsala, India. Photograph 6. Palmieri, Richard P. “Tibetan Xylography and the Question courtesy of Robert Correia Jr. of Movable Type,” Technology and Culture 32: 82-90. This article by Palmieri looks at the case of three blocks for printing lungta (prayer flags) that used a set of52 interchangeable “keys” for setting in alternate texts. Palmieri argues that this was an early form of combining wood block printing with moveable type. 7. a mala is a string of beads (usually 108) used, like a CatholicGLIMPSE www.glimpsejournal.com Rosary, for reciting and counting prayers. To recite a mala, therefore, means to say a prayer or mantra for each of the beads in the mala. To recite ten malas is simply to do this ten times. 8. Thupten Zopa Rinpoche as quoted in Lorne Ladner and Lama Zopa Rinpoche. 2001. The wheel of Great Compassion. Cambridge: Wisdom Publications: xii. 9. Wise, Tad and Thurman, Robert. 2001. Blessings on the wind: The Mystery & Meaning of Tibetan Prayer Flags. London: Chronicle Books. 10. Ladner and Zopa, wheel: vii. 11. This quote appears on a number of web sites, http://www. dharma-haven.org/tibetan/digital-wheels.htm but could not be substantiated in any of the dalia Lama’s writings or teachings. 12. “digital Prayer Wheels” accessed october 6, 2010, http:// www.dharma-haven.org/tibetan/digital-wheels.htm 13. Retrieved from: http://www.earthsanctuary.org/ sacredSpacesPrayerWheel.php 14. The most well known Tibetan digitization project is currently being made into a documentary film, Digital Dharma: http:// www.digitaldharma.com/

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