Oh, To Be a Jargonaut! Oh, To Be a Jargonaut!
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Illustration by Kazimierz Wiśniak
Experiences, Fiction

Oh, To Be a Jargonaut!

The Game of Ouscrapo
Maciej Świetlik
Reading
time 10 minutes

There are no experts or losers here, and instead of competition there’s a spirit of cooperation and a feeling of being submerged in the poetic ocean of language.

Ouscrapo is a game conceived by the French artist Bertrand Boulanger, based on a normal Scrabble set. The players, or jargonauts, create fictional words with the letters they’ve drawn, and then create definitions for these words.

Many stories are told about the creation of the game, because there is no single story in the world of Ouscrapo – there’s the explentynation, which encompasses a multitude of potential events. According to one source, little Bertrand Boulanger used a language of his own, unintelligible to everyone else. Almost everyone. Only his grandfather approved of his grandson’s dadaisms, and where others saw dyslexia – and perhaps also other social or medical categories – he discerned a poetic force. He kept telling his grandson that his language had independent value and that he shouldn’t worry about the bullying at school. He also advised him that it would be good to find some way of communicating with others. The young citizen of Lille must have found one, because despite the headwind, he managed to swim across the basin of education and find a haven at the École Supérieure d’Art du Nord-Pas de Calais. After years of work with theatre groups focusing on dance and street art, Bertrand returned to the beginnings of his play with language, this time as the alchemistrator of Scrabble à rebours.

The pataphysical legacy

The game, initially just for fun, soon revealed its

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“Common Poppy”, Anna Atkins, 1861
Art, Fiction

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Here is the first photographic album in history, a perfect combination of science and art. Its author, Anna Atkins, remained anonymous for over 100 years. Today, her blue world regains its shine.

The fact that Anna was born in 1799 in England was not conducive to her scientific career. In the Victorian era, with its biological determinism and puritan morals, a woman was seen first and foremost as a mother and a matron. Anna’s own mother – having fulfilled her main social duty – got ill in childbirth and a year and a half later orphaned her baby. The bitter irony of this stroke of fate is perhaps such that this tragedy helped Anna to fulfil her passion. The strong bond with her father, John George Children, allowed her to progress in a field that transgressed the narrow stage assigned to the social role of a woman. The father, a respected chemist and zoologist, secretary of The Royal Society, not only inspired his daughter’s interest in nature, but also facilitated her contacts with scientific circles. And this was a breakthrough time in the development of natural and technical sciences. Already at the age of 24, Anna – combining her botanical interests with artistic flair – made her debut as the author of drawings for Genera of Shells by Jean-Baptiste Lamarck, the precursor of the theory of evolution (the book had been translated from the French by Anna’s father).

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