Hysterical Literature: Art & Sexuality Collide in Readings of Whitman, Emerson & Other Greats (NSFW)

With­out shame the man I like knows and avows the deli­cious­ness of his sex, 

With­out shame the woman I like knows and avows hers.

Thus spaketh Walt Whit­man in Leaves of Grass. 160 years after that poem’s pub­li­ca­tion, how might that most Amer­i­can of Amer­i­can Roman­tics react to the spec­ta­cle of an attrac­tive young woman plea­sur­ing her­self with his work, as an unseen hand beneath the table sur­rep­ti­tious­ly plea­sures her with the Cadil­lac of vibra­tors?

The peep­hole is much larg­er than it would’ve been in 1855. Hys­ter­i­cal Lit­er­a­ture was con­ceived as an online project in which each session’s fea­tured female par­tic­i­pant choos­es a res­o­nant text, then reads it aloud until a Hitachi Mag­ic Wand puts an end to her abil­i­ty to form coher­ent sen­tences.

Cre­ator Clay­ton Cubitt has com­plained that the orgas­mic ele­ment and the sta­tus of cer­tain celebri­ty par­tic­i­pants like come­di­an Mar­garet Cho  have pre­oc­cu­pied the press. His pref­er­ence is for view­ers to take a more holis­tic approach, view­ing the expe­ri­ence with some “mys­tery and mag­ic and ‘WTF.’”

Accord­ing­ly, let us focus upon some of the select­ed works:

Beloved by Toni Mor­ri­son

Sex­ing the Cher­ry by Jeanette Win­ter­son

The Necrophil­ia Vari­a­tions by Super­vert

Real­ly, no Anaïs Nin? I would’ve thought…

The most recent con­trib­u­tor to the series is also its old­est, 60-year-old Janet, below, who had to take leave of Whitman’s pal, Ralph Wal­do Emer­son, not once but twice in eight min­utes.

Cumu­la­tive­ly, these ses­sions make a mar­velous­ly frank primer for actors or direc­tors charged with cre­at­ing real­is­tic sex scenes. The dichoto­my of Hys­ter­i­cal Lit’s stag­ing ensures that things are fair­ly respectable above the waist, thus sat­is­fy­ing YouTube’s Com­mu­ni­ty Guide­lines.

Dar­ing female lovers of lit­er­a­ture should be advised that Cubitt seeks to include more women of col­or, old­er par­tic­i­pants, and non-Eng­lish texts. No word on who exact­ly is under that table. Drain your pent-up rivers by apply­ing here.

via Kot­tke

Relat­ed Con­tent:

Read Fan­ny Hill, the 18th-Cen­tu­ry Erot­ic Nov­el That Went to the Supreme Court in the 20th Cen­tu­ry

This is Your Brain on Sex and Reli­gion: Exper­i­ments in Neu­ro­science

An Intro­duc­tion to World Lit­er­a­ture by a Cast Of Lit­er­ary & Aca­d­e­m­ic Stars (Free Course)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Watch 570 Million Years of Evolution on Earth in 60 Seconds

570 mil­lions years of evo­lu­tion. That’s a lot of ground to cov­er. And it could be like watch­ing paint dry. But not when it flies by in 60 sec­onds, with a groovy sound­track by I‑Konic. First come the arthro­pods. Next some friend­ly fish, all fol­lowed by land plants, fly­ing insects, amphib­ians, and rep­tiles. Way down the line, at the very end, the first humans arrive on the scene. But don’t blink, you might miss it.

To get a lit­tle more detail on how this all hap­pened, I’d sug­gest watch­ing Carl Sagan explain evo­lu­tion in a clas­sic 8‑minute ani­ma­tion.

Relat­ed Con­tent:

New Ani­mat­ed Web Series Makes the The­o­ry of Evo­lu­tion Easy to Under­stand

Richard Dawkins Explains Why There Was Nev­er a First Human Being

Free Online Biol­o­gy Cours­es

16,000 Pages of Charles Darwin’s Writ­ing on Evo­lu­tion Now Dig­i­tized and Avail­able Online

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Robert Sapolsky Explains the Biological Basis of Religiosity, and What It Shares in Common with OCD, Schizophrenia & Epilepsy

Since the 19th cen­tu­ry, thinkers like Lud­wig Feuer­bach, Friedrich Niet­zsche, and Sig­mund Freud have the­o­rized reli­gion as a strict­ly psy­cho­log­i­cal and anthro­po­log­i­cal phe­nom­e­non born of the ten­den­cy of the human mind to project its con­tents out into the heav­ens. The Dar­win­ian rev­o­lu­tion pro­vid­ed anoth­er framework—one ground­ed in exper­i­men­tal science—to explain reli­gion. Social sci­en­tists like Pas­cal Boy­er have inte­grat­ed these par­a­digms in com­pre­hen­sive accounts of the ori­gins of reli­gious belief, and in the­o­ries like E.O. Wilson’s Socio­bi­ol­o­gy, evo­lu­tion­ary biol­o­gy pro­vides an expla­na­tion for all social phe­nom­e­na, of which reli­gion is but one among many human adap­ta­tions. Advances in neu­ro­bi­ol­o­gy have fur­thered sci­en­tists’ under­stand­ing of reli­gion as a prod­uct not only of human con­scious­ness, but also of the phys­i­cal struc­ture of the brain. In exper­i­ments like the “God hel­met,” for exam­ple, sci­en­tists can induce reli­gious expe­ri­ences by prod­ding cer­tain areas of sub­jects’ brains.

It is in this con­text of psy­chol­o­gy, anthro­pol­o­gy, and evo­lu­tion­ary and neu­ro­bi­ol­o­gy that we need to sit­u­ate the lec­ture above from Stan­ford pro­fes­sor Robert Sapol­sky. Where many crit­ics of reli­gion explic­it­ly reject reli­gious author­i­ty and belief, Sapol­sky, though him­self “stri­dent­ly athe­is­tic,” has no such agen­da. As an arti­cle in the Col­orado Springs Inde­pen­dent puts it, “he’s no Christo­pher Hitchens.” Sapol­sky freely admits, as do many scientists—religious and non—that reli­gion has many ben­e­fits: “It makes you feel bet­ter. It tends to decrease anx­i­ety, and it gets you a com­mu­ni­ty.” How­ev­er, he claims, these pos­i­tives are the result of evo­lu­tion­ary adap­ta­tions, not proofs of any super­nat­ur­al realm. In fact, reli­gios­i­ty, Pro­fes­sor Sapol­sky argues above, is bio­log­i­cal­ly based and relat­ed to seem­ing­ly much less adap­tive traits like obses­sive com­pul­sive dis­or­der, schiz­o­phre­nia, and epilep­sy.

Part of a lec­ture course on “Human Behav­ioral Biol­o­gy” at Stan­ford, the reli­gion lec­ture is one Sapol­sky admits he is “most ner­vous for, sim­ply because this one peo­ple wind up hav­ing strong opin­ions about.” As he moves ahead, he presents his case (with occa­sion­al inter­rup­tions from his stu­dents) for reli­gios­i­ty as a result of nat­ur­al selec­tion, con­nect­ing belief to the selec­tion of genes for dis­eases like Tay-Sachs, the exis­tence of which can help to explain dispir­it­ing his­tor­i­cal cas­es like the Euro­pean Pogroms against the Jews in the Mid­dle Ages. Through­out his lec­ture, Sapol­sky makes con­nec­tions between reli­gios­i­ty and biol­o­gy, the­o­riz­ing, for exam­ple, that St. Paul had tem­po­ral-lobe epilep­sy.

At the end of his lec­ture, around the 1:19:30 mark, Sapol­sky issues a dis­claimer about what he’s “not say­ing”: “I’m not say­ing ‘you got­ta be crazy to be reli­gious.’ That would be non­sense. Nor am I say­ing, even, that most peo­ple who are, are psy­chi­atri­cal­ly sus­pect.” What he is say­ing, he con­tin­ues, is that “the same exact traits which in a sec­u­lar con­text are life-destroy­ing” and “sep­a­rate you from the com­mu­ni­ty” are, “at the core of what is pro­tect­ed, what is sanc­tioned, what is reward­ed, what is val­ued in reli­gious set­tings.” What fas­ci­nates Sapol­sky is the “under­ly­ing biol­o­gy” of these traits. Sapol­sky even con­fess­es that he “most regrets” his own break with the Ortho­dox reli­gion of his upbring­ing, but that his athe­ism is some­thing he “appears to be unable to change.” The ques­tions Sapol­sky asks broad­ly cov­er the phys­i­cal deter­min­ism of gain­ing faith, and of los­ing it, which he says, is “just as bio­log­i­cal.” What we are to make of all this is a ques­tion he leaves open.

You can watch Sapolsky’s full series of lec­tures on Behav­ioral Biol­o­gy here, and for a ful­ly anno­tat­ed sum­ma­ry of his reli­gios­i­ty lec­ture above, see this site.

Relat­ed Con­tent:

Stanford’s Robert Sapol­sky Demys­ti­fies Depres­sion

Biol­o­gy That Makes Us Tick: Free Stan­ford Course by Robert Sapol­sky

Do Your­self a Favor and Watch Stress: Por­trait of a Killer (with Stan­ford Biol­o­gist Robert Sapol­sky)

Dopamine Jack­pot! Robert Sapol­sky on the Sci­ence of Plea­sure

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

This is Your Brain on Jazz Improvisation: The Neuroscience of Creativity

It’s clear that ama­teur sax­o­phon­ist and Johns Hop­kins sur­geon Charles Limb has an abid­ing inter­est in the neu­ro­science of cre­ativ­i­ty.

He’s also an unabashed fan­boy. I’ll bet the spir­it of sci­en­tif­ic inquiry is not the only moti­vat­ing fac­tor behind this jazz fan’s exper­i­ments on jazz impro­vis­ers.

Sure, he has them play spon­ta­neous vari­a­tions on a MIDI key­board in a func­tion­al MRI tube in order to study blood oxy­gen lev­els in var­i­ous parts of their brains.

But he also gets to hang out in the technologist’s booth, ”trad­ing fours” with cap­tive musi­cian Mike Pope, whom he describes in his TED Talk, above, as “one of the world’s best bassists and a fan­tas­tic piano play­er.”

Is this an exper­i­ment or a DIY fan­ta­sy camp?

I’m not sure one needs thou­sands of dol­lars’ worth of med­ical equip­ment to con­clude that impro­vi­sa­tion thrives when the inner crit­ic is ban­ished. But that’s exact­ly what Dr. Limb’s find­ings reveal. Activ­i­ty in the lat­er­al pre­frontal cor­tex, an area asso­ci­at­ed with self-mon­i­tor­ing, dropped dra­mat­i­cal­ly, while that in the medi­al pre­frontal cortex—a struc­ture asso­ci­at­ed with the self-expression—spiked.

The same thing hap­pened when a rap­per named Emmanuelle was in the tube, free-styling on a set of prompts con­tained in a rhyme Dr. Limb com­posed for the occa­sion:

My pas­sion’s not fash­ion, you can see how I’m dressed 

Psy­cho­path­ic words in my head appear

Whis­per these lyrics only I can hear

The art of dis­cov­er­ing and that which is hov­er­ing 

Inside the mind of those uncon­fined 

All of these words keep pour­ing out like rain 

I need a mad sci­en­tist to check my brain 

(For me, the best part of the TED Talk was when a ner­vous Dr. Limb game­ly per­formed his rap for the crowd, the lyrics pro­ject­ed on a giant screen in case they want­ed to chime in. What I wouldn’t give to have a scan of his brain in this moment…)

The ulti­mate val­ue of Dr. Limb’s research remains to be seen. If noth­ing else, we may get a bit more insight into the work­ings of this most mys­te­ri­ous of organs. But I was struck by a remark he made in an inter­view with Abil­i­ty, a mag­a­zine focus­ing on health, dis­abil­i­ty and human poten­tial:

At some point, every musi­cian grap­ples with whether they’re going to pur­sue it as a pro­fes­sion, or do some­thing else to make a liv­ing. Some musi­cians absolute­ly feel that there’s no oth­er road for them. And then there are oth­er peo­ple, like me, who could have gone into music, but I didn’t feel like I deserved to. And what I mean by that is I wasn’t will­ing to suf­fer for my art. You have to have the con­vic­tion, that you can ride out the lows, to be a real­ly suc­cess­ful musi­cian.

Per­haps in the future, those with the tem­pera­ment for a career in impro­vi­sa­tion­al jazz will use an fMRI to dou­ble check that their deoxy­he­mo­glo­bin con­cen­tra­tions are also up to the task.

Relat­ed Con­tent: 

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

Why We Love Rep­e­ti­tion in Music: Explained in a New TED-Ed Ani­ma­tion

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

Philoso­pher Jacques Der­ri­da Inter­views Jazz Leg­end Ornette Cole­man: Talk Impro­vi­sa­tion, Lan­guage & Racism (1997)

Son­ny Rollins Describes How 50 Years of Prac­tic­ing Yoga Made Him a Bet­ter Musi­cian

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She stud­ied com­e­dy impro­vi­sa­tion with Del Close and plays the piano poor­ly. Fol­low her @AyunHalliday

16,000 Pages of Charles Darwin’s Writing on Evolution Now Digitized and Available Online

Darwin Tree of Life

The Dar­win­ian the­o­ry of evo­lu­tion is an amaz­ing sci­en­tif­ic idea that seems, at least to a layper­son like me, to meet all the cri­te­ria for what sci­en­tists like Ian Glynn praise high­ly as “elegance”—all of them per­haps except one: Sim­plic­i­ty. Evo­lu­tion­ary the­o­ry may seem on its face to be a fair­ly sim­ple expla­na­tion of the facts—all life begins as sin­gle-celled organ­isms, then changes and adapts in response to its envi­ron­ment, branch­ing and devel­op­ing into mil­lions of species over bil­lions of years. But the jour­ney Dar­win took to arrive at this idea was hard­ly straight­for­ward and it cer­tain­ly didn’t arrive in one eure­ka moment of enlight­en­ment.

darwin Notebook D

The process for him took over two decades, rep­re­sent­ed by the hun­dreds of pages of notes he left behind, all of which will be freely avail­able online at the Dar­win Man­u­scripts Project at the Amer­i­can Muse­um of Nat­ur­al His­to­ry in 2015. This means 30,000 dig­i­tized doc­u­ments, like the naturalist’s first “Tree of Life” at the top of the page, from a July 1837 note­book entry, and Trans­mu­ta­tion Note­book D above, the first note­book in which Dar­win began work­ing on the the­o­ry of nat­ur­al selec­tion.

The Muse­um has cur­rent­ly announced that it is a lit­tle over the halfway point, with just over 16,000 dig­i­tized doc­u­ments that cov­er, they write, “the 25-year peri­od in which Dar­win became con­vinced of evo­lu­tion; dis­cov­ered nat­ur­al selec­tion; devel­oped expla­na­tions of adap­ta­tion, spe­ci­a­tion, and a branch­ing tree of life and wrote the Ori­gin [of Species].” Direc­tor of the project David Kohn describes that lat­ter famous work as “the mature fruit of a pro­longed process of sci­en­tif­ic explo­ration and cre­ativ­i­ty that began toward the end of his Bea­gle voy­age… and that con­tin­ued to expand in range and deep­en in con­cep­tu­al rig­or through numer­ous well-marked stages.”

mdb56

Now his­to­ri­ans of sci­ence can trace those stages as though they were a fos­sil record, start­ing with that famous H.M.S. Bea­gle voy­age, in which the young Dar­win sailed from South Amer­i­ca to the Pacif­ic Islands—stopping at numer­ous sites, includ­ing the Gala­pa­gos Islands of course, and col­lect­ing sam­ples and mak­ing obser­va­tions. The jour­ney pro­duced a live­ly account, 1839’s Voy­age of the Bea­gle, pre­lude to the ful­ly devel­oped the­o­ry pre­sent­ed 20 years lat­er in On the Ori­gin of Species. Look­ing into the Bea­gle voy­age sec­tion, you’ll find hun­dreds of pages of notes, like that above on Gala­pa­gos mock­ing­birds. Darwin’s hand­writ­ing will present a chal­lenge, which is why, Hyper­al­ler­gic tells us, the project is “adding tran­scrip­tions and a schol­ar­ly struc­ture to its high-res­o­lu­tion images.”

darwin Children's drawing

Hyper­al­ler­gic also sums up the remain­ing con­tents of the huge archive, which in addi­tion to the Bea­gle mate­r­i­al will fea­ture every­thing “from the rest of his life, which he spent defend­ing his work.” This means “scrib­blings in books he stud­ied, abstracts, his own book drafts, arti­cles and their revi­sions, jour­nals he read, and his note­books on trans­mu­ta­tion.” You’ll also find “some charm­ing odd­i­ties” like draw­ings by the scientist’s chil­dren (above) on the back of orig­i­nal Ori­gin man­u­script pages. Learn much more about the archive, and Darwin’s life­long work, at the Amer­i­can Muse­um of Nat­ur­al History’s Dar­win Man­u­script Project site.

via io9/Hyper­al­ler­gic

Relat­ed Con­tent:

What Did Charles Dar­win Read? See His Hand­writ­ten Read­ing List & Read Books from His Library Online

Read the Orig­i­nal Let­ters Where Charles Dar­win Worked Out His The­o­ry of Evo­lu­tion

Trace Darwin’s Foot­steps with Google’s New Vir­tu­al Tour of the Gala­pa­gos Islands

New Ani­mat­ed Web Series Makes the The­o­ry of Evo­lu­tion Easy to Under­stand

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Shelf Life: American Museum of Natural History Creates New Video Series on Its 33 Million Artifacts

I once spent a sum­mer as a secu­ri­ty guard at the Children’s Muse­um of Indi­anapo­lis. A won­der­ful place to vis­it, but my work­day expe­ri­ence proved dread­ful­ly dull. By far the high­light was being pulled off what­ev­er exhib­it I hap­pened to be guard­ing to assist in col­lec­tions, a cav­ernous back­stage area where untold trea­sures were shelved with­out cer­e­mo­ny. The head con­ser­va­tor con­fid­ed that many of these items would nev­er be sin­gled out for dis­play. The thrift store egal­i­tar­i­an­ism that reigned here was far more appeal­ing than the eye-catch­ing, edu­ca­tion­al sig­nage in the pub­lic area. From the obliv­ion of deep stor­age springs the poten­tial for dis­cov­ery.

How grat­i­fy­ing to learn that the 200 plus sci­en­tists employed by the Amer­i­can Muse­um of Nat­ur­al His­to­ry feel the same. As palen­tol­o­gist Mike Novacek, puts it in Shelf Life, the museum’s just launched month­ly video series:

You can make new dis­cov­er­ies in Col­lec­tions just like you can out in the field. You can walk around the cor­ner and see some­thing that no one’s quite observed that way before, describe a new species or a new fea­ture that’s impor­tant to sci­ence.

The insti­tu­tion can choose from among more than 33,430,000 good­ies, from ancient objects they’ve been care­ful­ly tend­ing for more than two cen­turies to the sam­ples of frozen tis­sue and DNA com­pris­ing the bare­ly 13-year-old Ambrose Mon­ell Cryo Col­lec­tion for Mol­e­c­u­lar and Micro­bial Research.

Gems and mete­orites!

Arrow­heads and gourds!

Ver­te­brates and inver­te­brates!

There’s tru­ly some­thing here for…

WaspsFinalFlat

Wasp enthu­si­asts (you know who you are) can thrill to the sev­en and a half mil­lion spec­i­mens in sex researcher Alfred Kinsey’s Cynip­i­dae col­lec­tion. (They’re ready for their close up, Mr. DeMille. Famous as they are, the first episode passed them over in favor of a more pho­to­genic mock bee from the genus Criorhi­na.)

Future episodes will call upon in-house ichthy­ol­o­gists, pale­on­tol­o­gists, anthro­pol­o­gists, astro­physi­cists, and her­petol­o­gists to dis­cuss such top­ics as spec­i­men prepa­ra­tion, tax­on­o­my, and cura­tion. Stay abreast (and — bonus!- cel­e­brate Nero’s birth­day with tur­tles) by sub­scrib­ing to the museum’s youtube chan­nel.

Relat­ed Con­tent:

A Panoram­ic Vir­tu­al Tour of the Smith­son­ian Nation­al Muse­um of Nat­ur­al His­to­ry

Down­load the Uni­verse: A Dis­cern­ing Cura­tor for Sci­ence eBooks

How to Make a Mum­my — Demon­strat­ed by The Get­ty Muse­um

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She goes into more detail about her short-lived stint as a muse­um secu­ri­ty guard in her third book, Job Hop­per. Fol­low her @AyunHalliday

The Ebola Virus Explained with Animated Video

There’s just one small men­tion of the Ebo­la virus on the New York Times home­page right now. And it’s buried halfway down the page — which means that, no longer in pan­ic mode, we can take a cool, calm and col­lect­ed look at this virus called Ebo­la.“What does the Ebo­la virus actu­al­ly do in your body? Why is it so dan­ger­ous and why does it kill so many peo­ple?” Those are the ques­tions explored in a new video by Kurzge­sagt, a Munich-based design stu­dio that spe­cial­izes in cre­at­ing edu­ca­tion­al and sci­en­tif­ic ani­ma­tions. Kurzge­sagt, in case you’re won­der­ing, means “in a nut­shell” in Ger­man. As in, here’s the deal with Ebo­la in a nut­shell.

Fol­low us on Face­bookTwit­ter and Google Plus and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

Relat­ed Con­tent:

Free Online Biol­o­gy Cours­es

How to Dance Your Dis­ser­ta­tion: See the Win­ning Video in the 2014 “Dance Your PhD” Con­test

Sal­vador Dalí Cre­ates a Chill­ing Anti-Vene­re­al Dis­ease Poster Dur­ing World War II

How to Dance Your Dissertation: See the Winning Video in the 2014 “Dance Your PhD” Contest

We’ve seen how mod­ern dance can explain key con­cepts in sta­tis­tics (e.g. cor­re­la­tion and sam­pling error). So why could­n’t dance also illus­trate the con­clu­sions of a plant biol­o­gy doc­tor­al dis­ser­ta­tion?

Uma Nagen­dra, a grad­u­ate stu­dent at the Uni­ver­si­ty of Geor­gia, has just won the 2014 edi­tion of the “Dance Your Ph.D.” con­test. Spon­sored by Sci­ence and High­Wire Press, the con­test asks grad stu­dents to “explain their Ph.D. research in the most jar­gon-free medi­um of all: dance.” (More cri­te­ria can be found over at the con­test’s tips & tricks page.) Accord­ing to Sci­ence mag­a­zine, Nagen­dra likes to spend “a good deal of her [free] time hang­ing upside down from a trapeze doing cir­cus aeri­als.” It’s a cre­ative out­let for her. And it offers a good way, it turns out, to visu­al­ize the con­clu­sions of her dis­ser­ta­tion explor­ing “Plant-soil feed­backs after severe tor­na­do dam­age.”

The “Dance Your Ph.D.” con­test allows each con­tes­tant to sub­mit a video with a short piece of descrip­tive text. Here is what Nagen­dra wrote:

Many of the pat­terns we see in forests around the world are caused by the rela­tion­ships that plants have with organ­isms in the soil. Some very diverse forests can only sup­port as many dif­fer­ent tree species as they do because soil-borne dis­eases pre­vent any one species from tak­ing over. But what hap­pens when a tor­na­do comes along? Do the plants and soil organ­isms main­tain this diver­si­ty-pro­mot­ing rela­tion­ship?

My PhD research focus­es on how sev­er­al dif­fer­ent species of tree seedlings in the south­ern Appalachi­an moun­tains inter­act with soil organisms—and how tor­na­does might mix things up. I study many dif­fer­ent species. As an exam­ple, we can look at white pine (Pinus strobus), and the many pathogens that attack the roots of its seedlings.

The dance begins in an undis­turbed for­est. Because trees live for so long in one place, a mature pine tree accu­mu­lates a unique group of fun­gi around its roots—including pathogens that cause dis­eases in tree seedlings (in this case, Pythi­um and Rhi­zoc­to­nia). White pine seedlings that are very close to a mature tree are more like­ly to be attacked by these pathogens—causing stunt­ed growth, or even death. The far­ther away a seedling is from a mature tree, the less like­ly it is to get infect­ed. These dis­tant seedlings are more like­ly to sur­vive to matu­ri­ty. A pat­tern emerges where the mature pine trees are spaced far apart—leaving room for seedlings of oth­er species to grow, and cre­at­ing a diverse for­est.

In the mid­dle of the dance, we wit­ness the tornado—and how it changes the for­est envi­ron­ment. The mature pine tree dies, and the for­est floor is no longer shad­ed. The soil becomes hot­ter and dri­er. With­out the liv­ing mature tree as a host, spe­cial­ist pathogens are less active, and many die. Because of this, I am pre­dict­ing that plant-soil rela­tion­ships in recent­ly tor­na­do-dam­aged areas may be much weak­er. In the last part of the dance, seedlings close to the (killed) mature tree are no longer at greater risk for dis­ease; they grow and sur­vive the same as their more dis­tant sib­lings. The chang­ing plant-soil rela­tion­ships after dis­tur­bances might be one piece in the puz­zle of how diverse ecosys­tems change over time.

via Explore

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Relat­ed Con­tent:

Sta­tis­tics Explained Through Mod­ern Dance: A New Way of Teach­ing a Tough Sub­ject

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Ser­i­al Entre­pre­neur Damon Horowitz Says “Quit Your Tech Job and Get a Ph.D. in the Human­i­ties”

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