Various Designers
Alignment Calendars
1584–1811

English, after Nicholas Oursian. Brown oak with fruitwood veneer, 16⅛ × 3¼ × 22½". Collection of the author.

"Alignment Calendars" from the Apocryphal Inventions project by Jonathan Hoefler

Much of the world sets store by the Gregorian calendar, instituted by Pope Gregory XIII in 1582. This new scheme, an adjustment to the ‘Julian’ calendar that had endured since the time of Caesar, corrected for a rounding error in the older system whose effects, by the sixteenth century, had begun to accumulate. (The spring equinox, meant to occur on March 21, was arriving ten days early, complicating the scheduling of Easter.) In much of Europe, Gregory’s new calendar caused the dates October 5–14, 1582 to vanish. But not everywhere.

Countries outside the Catholic sphere of influence attended this adjustment with less urgency. The Kingdom of Bohemia would take two years to make the change; Prussia would take twenty-eight. Spectacularly resistant to the change were the English, treating this bit of administrative bumf with their usual drollery, until finally succumbing in 1750. Their calendars for 1752 therefore skipped the dates September 3–13, at the end of a 170-year interregnum that had required the constant conversion between the calendar at home and abroad, giving rise to elaborate conversion scales such as these.

With obvious ecclesiastical, commercial, and legal applications, these alignment calendars calculated the difference between the dates in Catholic Europe and the various national holdouts. Their most complicated workings were devoted to the Swiss, whose various cantons, which during these years numbered between thirteen and twenty-six, gradually adopted the new calendar over a 227-year period. The disappearance of these contraptions from everyday use is a testament to the rational, well-coordinated, and widely-adopted systems in universal use today, in all things except the trade of commodities such as precious metals and real estate, and of course length, weight, and time.

Published December 13, 2023. Copyright © 2023 Jonathan Hoefler.

 

About

The objects in the Apocryphal Inventions series are technical chimeras, intentional misdirections coaxed from the generative AI platform Midjourney. Instead of iterating on the system’s early drafts to create ever more accurate renderings of real-world objects, creator Jonathan Hoefler subverted the system to refine and intensify its most intriguing misunderstandings, pushing the software to create beguiling, aestheticized nonsense. Some images have been retouched to make them more plausible; others have been left intact, appearing exactly as generated by the software. The accompanying descriptions, written by the author, offer fictitious backstories rooted in historical fact, which suggest how each of these inventions might have come to be.

These images represent some of AI’s most intriguing answers to confounding questions, an inversion of the more pressing debate in which it is humanity that must confront the difficult and existential questions posed by artificial intelligence.

Previously:

No. 64. Swap Machines

Next:

No. 66. ‘Cube Power’ Psychic Amplifier