An interesting debate in the often controversial world of school examinations: according to this article from the Independent last week, the chief executive of Ofqual – the body responsible for monitoring GCSE and A Level examinations – believes that students should have more opportunities to write exam scripts on computers and that ‘school exams are running the risk of becoming invalid as their medium of pen and ink increasingly differs from the way in which youngsters learn.’

The natural familiarity of the youngest generations with computer technology in its increasingly sophisticated forms is a commonplace of contemporary society, but should we be concerned by this embracing of IT as the main medium of writing seemingly at the expense of (rather than alongside) pen and ink, by those near the top of the education hierarchy?

Many thanks to Sebastiaan for alerting me to the work of Brian Dettmer, an American artist who uses knives, tweezers, and other surgical instruments to transform old encyclopaedias and dictionaries into visually and technically impressive pieces of sculpture. More images of his work can be seen here or here.

Nothing is added to these books; rather, with the aid of his sharp tools Dettmer investigates their contents in corporeal terms, exposing, in the example above, the grotesque innards of volumes we usually think of as neat, orderly, and contained. The physicality of the book is full of interpretative potential for Dettmer, and his sculptures interrogate the three-dimensional space of the book as material object to be physically as well as intellectually probed and dissected.

That’s the edge of a razor blade, considerably magnified, on which a professional copper and steel engraver has etched these words by hand. Read the full story of one man’s obsession with engraving on miniscule objects and surfaces here.

Excellent knitting pattern for socks, reproducing the first page of Beowulf in MS Cotton Vitellius 15. The pattern can be bought here.

News today that Prince William’s wedding certificate is going to be written on vellum, and that the happy couple are buying British. William Cowley of Newport Pagnall (est. 1860) are going to be soaking, stretching and scratching the skins until they are white and smooth. On this medium, the evidence of the match may last as long as the Magna Carta and the Domesday Book. The rest of us will have to make do with a mug or a mousemat.

Cowley is a company that regularly hits the news–as in 1999, when the Commons voted to carry on recording Parliamentary Acts on vellum, and in 2006, when the BBC’s royal charter, guaranteeing its funding for the next ten years, was approved. We are perpetuating some very timeworn techniques in our efforts to create what Horace called the monumentum aere perennius (a monument more lasting than bronze). Though he, of course, thought the really lasting medium was poetry–his own…

By the end of 1914, five months after Britain’s entry into the First World War, over a million men had volunteered to serve in the British Army.  A year later, shortly before the introduction of the first of five Military Service Acts in January 1916 (which conscripted all unmarried men aged between 18 and 41), a further one and a half million had signed up.  It seems particularly fitting, therefore, that a new project to commemorate those killed during the First World War and in conflicts since has been undertaken primarily by dedicated groups of volunteers.

The War Graves Photographic Project (WGPP) aims to digitally photograph ‘every war grave, individual memorial, MoD grave, and family memorial of serving military personnel from WWI to the present day’, and to correlate these images with the records held by the Commonwealth War Graves Commission (CWGC).  At the time of writing, 1,599,630 names have been entered into their searchable database, and small images of graves or memorials are visible online free-of-charge.

Individually and collectively, the headstones which mark each burial site are material texts: the format in which they are engraved and their physical form are together illustrative of the particular ways in which twentieth- (and twenty-first) century society has chosen to remember its war dead.  According to the guiding principles of the CWGC, the headstones are permanent and uniform; ‘no distinction [is] made according to military or civil rank, race or creed’.  The aesthetic simplicity of their design was a necessary function where many thousands of graves were to be concentrated on one site – but is this the only reason for their uniformity?

The First World War had a profound effect on British social attitudes – universal male suffrage soon followed the Armistice – and perhaps such uniformity signifies an attempt to bestow on these fallen men an equality in their death which they did not enjoy in their lives.  Or maybe there is a more radically pacifist message contained in these simple stones.  Each headstone has been carved and engraved alike, is impeccably maintained and, when the forces of erosion demand it, re-engraved: ‘an eroded inscription is a brave man or woman forgotten and that is unacceptable …not a single sacrifice will be allowed to fade’.  Their uniformity symbolises the universal value of human life, and in the meticulous acts of care bestowed upon these monuments we can see an ongoing enactment of public atonement for the waste of human life in four long and bloody years.

Most headstones from the First (and Second) World Wars – and the Cenotaph on Whitehall – were carved out of the distinctively bright white Portland stone (some have latterly been replaced by a similar but more hard-wearing white marble).  Scattered across the graveyards of the British Isles, and concentrated in the cemeteries of Belgium and western France, they are instantly recognisable, and represent both a private memorial to an individual casualty, and a permanent public reminder of the conflict as a whole.  At Tyne Cot cemetery near Passchendaele on the Ypres Salient (see picture), 12,000 or so headstones (over 8,000 of which are unnamed) stand in serried ranks before the Memorial to the Missing, upon which a further 35,000 names are engraved.  Even in this one ‘corner of a foreign field’ – which is forever not just England, but also forever Canada, Australia, New Zealand, South Africa, West Indies, France, and even Germany too – the sense of the immensity of the slaughter is immediate and powerful.  If this is just a small fraction of the war dead, one thinks, how horrifying was the whole?

Anyone who believes in the fundamental importance of public libraries and their contents will be interested to read the damning speech made by novelist Philip Pullman in response to news that his local libraries in Oxfordshire are threatened by public funding cuts. The polemical speech, which takes us from our own local libraries to the Bodleian, Alexandria, Chicago, and back again, is available in its eloquent entirety here.

The Guardian reports that a US publisher, Black Ocean, is offering lifetime subscriptions to their publications for anyone who gets a real tattoo related to one of Black Ocean’s book titles. Read more about this bizarre material interface between readers and their books here, and see some of those hopefuls who’ve already sent in photos of their tattoos to Black Ocean here.

How would you depict your favourite book in tattoo form?

At a recent seminar, somebody recommended to me Nicole Boivin’s “Material Cultures, Material Minds” (CUP, 2008). Would the person who did so own up? I jotted down the title but not the person who passed it on, and I should thank that person. This book is very solidly engaged in archaeology, with some surprising discussions of soil and suchlike; it says next to nothing about material objects which carry texts (in the narrowest sense of the word) and takes issue with with the model of textual interpretation as a model for understanding material objects. But in mounting this bracing challenge it offers a helpful overview of ideas about material objects and runs through umpteen different theoretical approaches most helpfully. It has helped me to chew over the ideas behind a piece I’m currently writing, and I’ll be ruminating on it in the introduction to that. So I’d recommend it for others grappling with discussion of material texts.

Does anyone recognise this script?

And the text on this piece of paper so ‘Worme-eaten, and full of canker holes’, as Spenser might describe it?