Venice, 1570s, and Paolo Veronese, who had been commissioned by the Dominicans to paint the Last Supper, finds himself up against the Venetian version of the Spanish Inquisition. His depiction of this biblical scene seemed irregular, to say the least. Perhaps even blasphemous?
The Lost Last Supper – Yale University Press Blog That dog, what is the dog doing there, a dog in the vicinity of Jesus, this is surely blasphemy? He should have painted Mary Magdalene there, should he not? Yes, but he did not think she would look right in that spot. And that bloody nose? That’s not fitting, is it? Yes, but it was intended as a servant who had had an accident. And what about that man there, the one who looks so German, armed with a halberd? That would take some time to explain. Please answer! You see, we painters are accustomed to taking the same liberties as poets and madmen, and so I painted those two halberdiers, one eating and the other drinking at the foot of the stairs, yes, but so that they can immediately be of service, because I believe that a man as wealthy as the host would have had such servants. And that fellow who looks like a court jester, with a parrot on his fist, what is he doing there? He is there for decoration, as is customary. And who is sitting at the Lord’s table? The twelve Apostles. What is Saint Peter doing, the first one sitting there? He is carving the lamb into portions for the whole table. And the man beside him? He is holding up his plate. And the next one? He is picking his teeth with a fork. Who do you think was actually present? I believe there was only Christ and his apostles, but if there is any space remaining in a painting then I fill it with figures of my own invention. So did someone commission you to include Germans and jesters and people of that sort? No, Sirs, but I saw that I had lots of space, so I could add a great deal.
The Holy Tribunal determines that this rabble is not worthy to accompany such a sacred event, and orders the dog, the bloody nose, the tooth-picker, the Germans, all of it, to be painted over. But the artist, with the permission of the Dominicans, has a better idea.
He barely changes the painting at all, he just gives it a different name, and that is what it is still called today in the Accademia: Feast in the House of Levi, and if paintings were allowed to have a subtitle, in this case it might be: or, Hoodwinking the Inquisition.
Deborah Roberts reminding us that even a flat sheet of text isn’t a level playing field.
As well as saying that Black lives, history, respect and status matters, I should have added spelling.
The Spell Checkers Agenda – Kottke The piece above is part of a series called Pluralism by artist Deborah Roberts — it’s a collage of dozens of Black names marked as misspelled by Microsoft Word’s built-in spell checker. I don’t know about you, but this makes me think about the neutrality of technology, how software is built, who builds it, and for whom it is designed.
Glasstire and Contemporary Art Review Los Angeles have more on this piece, and how it fits in with Deborah’s wider body of work.
Naming and shaming: Deborah Roberts at Art Palace – Glasstire Other text pieces involve roughly printed words like bad offset printing. In the best of these, Roberts prints black-sounding women’s names (Tynisha, Shawanna, Roneshia) in a jittery, repeated overlay of red and black. Printed over them in a nearly-illegible, but unmistakable, light yellow, are four white women’s names: lean in close and you can barely discern Bethany, Lindsey, Becky, Haley.
Deborah Roberts at Luis De Jesus – Carla Opposite Human nature and Golden Smile hung the triptych Sovereignty (2016), a hand-drawn set of three serigraphs of black women’s names that Roberts sourced from friends. The far right in the triptych was a dense list of 213 names, from Khepri to Sharnell. All, however, were underlined with that all-too-familiar squiggly red line—these names were ostensibly misspelled, unrecognizable to word processing programs. The drawing on the left side of the triptych contrasted the list by featuring a sole name— Sharkesha—in large serif font. This work followed a similar logic to the collages: the viewer’s gaze moved from the minute to the masses and back again. However, the simplicity of this solution—names, listed— can’t be ignored. Sovereignty suggested a way to begin to humanize the silent figures that Roberts depicts, or at least to begin to find words that do the work.
Company forced to change name that could be used to hack websites – The Guardian The company now legally known as “THAT COMPANY WHOSE NAME USED TO CONTAIN HTML SCRIPT TAGS LTD” was set up by a British software engineer, who says he did it purely because he thought it would be “a fun playful name” for his consulting business. He now says he didn’t realise that Companies House was actually vulnerable to the extremely simple technique he used, known as “cross-site scripting”, which allows an attacker to run code from one website on another.
The original name of the company was “”›‹SCRIPT SRC=HTTPS://MJT.XSS.HT› LTD”.
‘Adani is at pains to stress it is not rebranding due to the Stop Adani campaign or because the brand is now globally toxic. This is despite the fact over 85 insurers, contractors and financiers have ruled out working with Adani on the destructive Carmichael coal project,’ said a Stop Adani spokesperson in a press release this morning.
Boshoff told the Australian Financial Review it was a good fit because the company “took a lot of courage to get where we are and we will stand up for what we believe in”. However, multiple Latin experts have pointed out that “bravus” does not mean “brave” and is more accurately translated as “crooked” or “mercenary”.
I mentioned earlier, in a post about the first map to include the name America, that people should be more aware of the names of places used by the first people to live there. Well, here’s a map that can help with that.
Indigenous geographies overlap in this colorful online map For centuries, indigenous peoples and their traditional territories have been purposefully left off maps by colonizers as part of a sustained campaign to delegitimize their existence and land claims. Interactive mapping website Native Land does the opposite, by stripping out country and state borders in order to highlight the complex patchwork of historic and present-day Indigenous territories, treaties, and languages that stretch across the United States, Canada, and beyond.
It looks strange now, but this Waldseemüller map from 1507 was cutting-edge in its day, incorporating the very latest reports from voyages of discovery that were taking place at the time. Not everyone agreed with the reports from a certain Amerigo Vespucci, however.
The epic story of the map that gave America its name Contrarily, according to a letter dated 1504 from Vespucci to Duke Renè that was reprinted in Introduction to Cosmography and describes his four voyages from 1497 to 1504, he reached the mainland a year earlier than Columbus. Historians have called the authenticity of this letter into doubt, but Waldseemüller and Ringmann took Vespucci’s letter at face value, basing their naming of the new continent on its contents.
You could say that every country has at least two names — an exonym and an endonym; what outsiders call a place, and what the people that actually live there call their place. They were arguing about the former without bothering to ask about the latter.
It’s a gorgeous map, though, regardless of its accuracy and arrogance. Here’s another remarkable map of America, this time of just one of its rivers.
This 11-Foot ‘ribbon map’ puts the whole Mississippi River in your pocket It wasn’t just a marketing gimmick, though. By choosing this particular form, Coloney and Fairchild leaned into a particular depiction of the Mississippi that took shape during the Civil War. “There was this idea that because the river went from north to south, it was a great unifier for the country,” Luarca-Shoaf says—that it tied the divided North and South together like, well, a ribbon. At the same time, they took pains to include important battle sites, like Vicksburg. That these sites made it onto the map just a year after the war ended “shows that the war had marked the landscape in more than physical ways,” she says. “It had become part of the history of the place.”
The cost of changing a country’s name “African countries, on getting independence, reverted to their ancient names before they were colonised,” His Royal Highness, King Mswati III told those gathered there. At that moment he was still king of Swaziland – but Swaziland was to be no more. “So, from now on the country will be officially known as the Kingdom of eSwatini.”
Reminded me of the mountain of work Kazakhstan is undertaking, changing its official alphabet. There’s always a huge cost, as Darren Olivier, a South Africa-based intellectual property lawyer, goes on to explain.
“There’s value in that, there’s intrinsic value in that identity and what it means for the people,” he points out. “Yet at the same time there’s a cost – a physical cost in changing the identity.”
Like many, Olivier has wondered exactly what the price tag for eSwatini will be. Shortly after King Mswati III’s announcement, Olivier published a blog in which he estimated that it will cost the country $6 million to change its name.
Principality of Reuss-Gera
The House of Reuss practises a unique system of naming and numbering the male members of the family, every one of whom for centuries has borne the name “Heinrich”, followed by a Roman numeral.