Kalamazoo Medieval Congress Blog: Friday 6:30

Not-a-session: Manuscripts to Materials

• Sponsor: Research Group on Manuscript Evidence;
• Societas Magica
• Organizer: David Porreca, Univ. of Waterloo
• Presider: Jason Roberts, Univ. of Texas–Austin

Practical Magic: Making Magical Artifacts and Using Them

• Frank Klaassen, Univ. of Saskatchewan
• Responses: Claire Fanger, Rice Univ.; David Porreca; Marla Segol, Univ. at Buffalo

The session begins with an interactive display of the physical paraphernalia of magic and divination, created by various members of the society based on the descriptions in historic manuscripts. This is a roundtable discussion on the process of researching, reconstructing, and practicing with the various artifacts.

In many cases, no actual objects of these types survive. Working on three aspects of texts and imagination: the process of producing artifacts based on very limited textual instructions (requiring extrapolation); consider the ways that magic tools leverage the imagination of the practitioner; and then how to use the tools to encourage the observer to enter into the medieval world imaginatively.

Among the modern technology used for this process are 3D printers and computer simulations of divination techniques. The participants tried out various of the interactive techniques such as ciromancy (divination by wax tripped into water), or the key-and-psalter divination (for identifying criminals).

What did they learn? Presenting this reserach to a non-academic audience requires very condensed textual information. Some outcomes of the interactive practice were expected, such as the physics of the key-and-psalter divination. Some were open-ended, such as giving artists descriptions for the creation of amulet figurines, who then extended the limited information with other religious and philosophical imagery to create the actual objects. Or the need for an interpretive key for the molymdomancy (molten lead divination). Some results were unexpected. Such as the personal attachment students felt to the molybdomancy lumps they’d created.

What can the audience take away with them? Encouragement to actually try out the magical practices you’re studying academically, as you’ll learn things not otherwise available. Use the artifacts in teaching for greater meaningful understanding and connection with the historic context. (The 3D printer vector files will be made available for general use.) An audience member notes that the 3D printing method side-steps the practice aspect of the personal physical creation of objects, which was an essential part of their original use.

They’re looking for a context for a larger, more extensive exhibit, collaborating with a museum. Encouragement of additional examples developed by other researchers.

The panel now offers their responses/discussion. (Sorry I’m not keeping track of  the speakers individually.)

Another technique explored was scapulomancy (sheep shoulder blades) using actual bones. Someone just during the exhibit noted they should include a  wishbone divination. (They include modern equivalents to some techniques, like Ouija boards.)  The interpretative guides for the ciromancy/molybdomancy  are reminiscent of interpretation guides for dreams, etc. Abstract divinations require an “answer key”. Some of the more complex 3D print jobs required up to 36 hours and required constant babysitting!

They ask for volunteers from the audience for the Homeric divination (from Greek magical papyrus). One selects the text, the other interprets. Other audience members tell their experiences interacting with the same divination prior to the roundtable. People asked meaningful questions and received what they perceived to be meaningful answers. A discussion of the significance of the public performance of these rituals, where the fact of witnessing adds more significance than something done privately would.