How the Female Scientist Who Discovered the Greenhouse Gas Effect Was Forgotten by History


In the ear­ly 19th cen­tu­ry, Aristotle’s Mete­o­ro­log­i­ca still guid­ed sci­en­tif­ic ideas about the cli­mate. The mod­el “sprang from the ancient Greek con­cept of kli­ma,” as Ian Bea­cock writes at The Atlantic, a sta­t­ic scheme that “divid­ed the hemi­spheres into three fixed cli­mat­ic bands: polar cold, equa­to­r­i­al heat, and a zone of mod­er­a­tion in the mid­dle.” It wasn’t until the 1850s that the study of cli­mate devel­oped into what his­to­ri­an Deb­o­rah Cohen describes as “dynam­ic cli­ma­tol­ogy.”

Indeed, 120 years before Exxon Mobile learned about—and then seem­ing­ly cov­ered up—glob­al warm­ing, pio­neer­ing researchers dis­cov­ered the green­house gas effect, the ten­den­cy for a closed envi­ron­ment like our atmos­phere to heat up when car­bon diox­ide lev­els rise. The first per­son on record to link CO2 and glob­al warm­ing, ama­teur sci­en­tist Eunice New­ton Foote, pre­sent­ed her research to the Eight Annu­al Meet­ing of the Amer­i­can Asso­ci­a­tion for the Advance­ment of Sci­ence in 1856.

Foote’s paper, “Cir­cum­stances affect­ing the heat of the sun’s rays,” was reviewed the fol­low­ing month in the pages of Sci­en­tif­ic Amer­i­can, in a col­umn that approved of her “prac­ti­cal exper­i­ments” and not­ed, “this we are hap­py to say has been done by a lady.” She used an air pump, glass cylin­ders, and ther­mome­ters to com­pare the effects of sun­light on “car­bon­ic acid gas” (or car­bon diox­ide) and “com­mon air.” From her rudi­men­ta­ry but effec­tive demon­stra­tions, she con­clud­ed:

An atmos­phere of that gas [CO2] would give to our earth a high tem­per­a­ture; and if as some sup­pose, at one peri­od of its his­to­ry the air had mixed with it a larg­er pro­por­tion than at present, an increased temperature…must have nec­es­sar­i­ly result­ed.

Unfor­tu­nate­ly, her achieve­ment would dis­ap­pear three years lat­er when Irish physi­cist John Tyn­dall, who like­ly knew noth­ing of Foote, made the same dis­cov­ery. With his supe­ri­or resources and priv­i­leges, Tyn­dall was able to take his research fur­ther. “In ret­ro­spect,” one cli­mate sci­ence data­base writes, Tyn­dall has emerged as the founder of cli­mate sci­ence, though the view “hides a com­plex, and in many ways more inter­est­ing sto­ry.”

Nei­ther Tyn­dall nor Foote wrote about the effect of human activ­i­ty on the con­tem­po­rary cli­mate. It would take until the 1890s for Swedish sci­en­tist Svante Arrhe­nius to pre­dict human-caused warm­ing from indus­tri­al CO2 emis­sions. But sub­se­quent devel­op­ments depend­ed upon their insights. Foote, whose was born 200 years ago this past July, was mar­gin­al­ized almost from the start. “Entire­ly because she was a woman,” the Pub­lic Domain Review points out, “Foote was barred from read­ing the paper describ­ing her find­ings.”

Fur­ther­more, Foote “was passed over for pub­li­ca­tion in the Association’s annu­al Pro­ceed­ings.” Her paper was pub­lished in The Amer­i­can Jour­nal of Sci­ence, but was most­ly remarked upon, as in the Sci­en­tif­ic Amer­i­can review, for the mar­vel of such home­spun inge­nu­ity from “a lady.” The review, titled “Sci­en­tif­ic Ladies—Experiments with Con­densed Gas,” opened with the sen­tence “Some have not only enter­tained, but expressed the mean idea, that women do not pos­sess the strength of mind nec­es­sary for sci­en­tif­ic inves­ti­ga­tion.”

The praise of Foote cred­its her as a paragon of her gen­der, while fail­ing to con­vey the uni­ver­sal impor­tance of her dis­cov­ery. At the AAAS con­fer­ence, the Smithsonian’s Joseph Hen­ry praised Foote by declar­ing that sci­ence was “of no coun­try and of no sex,” a state­ment that has proven time and again to be untrue in prac­tice. The con­de­scen­sion and dis­crim­i­na­tion Foote endured points to the mul­ti­ple ways in which she was exclud­ed as a woman—not only from the sci­en­tif­ic estab­lish­ment but from the edu­ca­tion­al insti­tu­tions and fund­ing sources that sup­port­ed it.

Her dis­ap­pear­ance, until recent­ly, from the his­to­ry of sci­ence “plays into the Matil­da Effect,” Leila McNeill argues at Smith­son­ian, “the trend of men get­ting cred­it for female scientist’s achieve­ments.” In this case, there’s no rea­son not to cred­it both sci­en­tists, who made orig­i­nal dis­cov­er­ies inde­pen­dent­ly. But Foote got there first. Had she been giv­en the cred­it she was due at the time—and the insti­tu­tion­al sup­port to match—there’s no telling how far her work would have tak­en her.

Just as Foote’s dis­cov­ery places her firm­ly with­in cli­mate sci­ence his­to­ry, ret­ro­spec­tive­ly, her “place in the sci­en­tif­ic com­mu­ni­ty, or lack therof,” writes Ama­ra Hud­dle­ston at Climate.gov, “weaves into the broad­er sto­ry of women’s rights.” Foote attend­ed the first Women’s Rights Con­ven­tion in Seneca Falls, NY in 1848, and her name is fifth down on the list of sig­na­to­ries to the “Dec­la­ra­tion of Sen­ti­ments,” a doc­u­ment demand­ing full equal­i­ty in social sta­tus, legal rights, and edu­ca­tion­al, eco­nom­ic, and, Foote would have added, sci­en­tif­ic oppor­tu­ni­ties.

Learn much more about Foote and her fas­ci­nat­ing fam­i­ly from her descen­dent, marine biol­o­gist Liz Foote.

via Pub­lic Domain Review

Relat­ed Con­tent:

Women Sci­en­tists Launch a Data­base Fea­tur­ing the Work of 9,000 Women Work­ing in the Sci­ences

“The Matil­da Effect”: How Pio­neer­ing Women Sci­en­tists Have Been Denied Recog­ni­tion and Writ­ten Out of Sci­ence His­to­ry

Marie Curie Became the First Woman to Win a Nobel Prize, the First Per­son to Win Twice, and the Only Per­son in His­to­ry to Win in Two Dif­fer­ent Sci­ences

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

A Medical Student Creates Intricate Anatomical Embroideries of the Brain, Heart, Lungs & More

My first thought upon see­ing the del­i­cate, anato­my-based work of the 23-year-old embroi­dery artist and med­ical stu­dent Emmi Khan was that the Girl Scouts must have expand­ed the cat­e­gories of skills eli­gi­ble for mer­it badges.

(If mem­o­ry serves, there was one for embroi­dery, but it cer­tain­ly didn’t look like a cross-sec­tioned brain, or a sinus cav­i­ty.)

Clos­er inspec­tion revealed that the cir­cu­lar views of Khan’s embroi­deries are not quite as tiny as the round badges stitched to high achiev­ing Girl Scouts’ sash­es, but rather still framed in the wood­en hoops that are an essen­tial tool of this artist’s trade.

Meth­ods both sci­en­tif­ic and artis­tic are a source of fas­ci­na­tion for Khan, who began tak­ing needle­work inspi­ra­tion from anato­my as an under­grad study­ing bio­med­ical sci­ences. As she writes on her Mol­e­c­u­lart web­site:

Sci­ence has par­tic­u­lar meth­ods: it is fun­da­men­tal­ly objec­tive, con­trolled, empir­i­cal. Sim­i­lar­ly, art has par­tic­u­lar meth­ods: there is an empha­sis on sub­jec­tiv­i­ty and explo­ration, but there is also an ele­ment of reg­u­la­tion regard­ing how art is cre­at­ed… e.g. what type of nee­dle to use to embroi­der or how to prime a can­vas.

The pro­ce­dures and tech­niques adopt­ed by sci­en­tists and artists may be very dif­fer­ent. Ulti­mate­ly, how­ev­er, they both have a com­mon aim. Artists and sci­en­tists both want to 1) make sense of the vast­ness around them in new ways, and 2) present and com­mu­ni­cate it to oth­ers through their own vision. 

A glimpse at the flow­ers, intri­cate stitch­es, and oth­er dain­ties that pop­u­late her Pin­ter­est boards offers a fur­ther peek into Khan’s meth­ods, and might prompt some read­ers to pick up a nee­dle them­selves, even those with no imme­di­ate plans to embroi­der a kary­otype or The Cir­cle of Willis, the cir­cu­lar anas­to­mo­sis of arter­ies at the base of the brain.

The Cardiff-based med­ical stu­dent delights in embell­ish­ing her thread­ed obser­va­tions of inter­nal organs with the occa­sion­al dec­o­ra­tive element—sunflowers, posies, and the like…

She makes her­self avail­able on social media to answer ques­tions on sub­jects rang­ing from embroi­dery tips to her rela­tion­ship to sci­ence as a devout Mus­lim, and to share works in progress, like a set of lungs that embody the Four Sea­sons, com­mis­sioned by a cus­tomer in the States.

To see more of Emmi Khan’s work, includ­ing a down­load­able anatom­i­cal flo­ral heart embroi­dery pat­tern, vis­it Mol­e­c­u­larther Insta­gram page, or her Etsy shop.

via Colos­sal

Relat­ed Con­tent:

Behold an Anatom­i­cal­ly Cor­rect Repli­ca of the Human Brain, Knit­ted by a Psy­chi­a­trist

An Artist Cro­chets a Life-Size, Anatom­i­cal­ly-Cor­rect Skele­ton, Com­plete with Organs

Watch Nina Paley’s “Embroi­der­ma­tion,” a New, Stun­ning­ly Labor-Inten­sive Form of Ani­ma­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Feb­ru­ary 3 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates New York: The Nation’s Metrop­o­lis (1921). Fol­low her @AyunHalliday.

Download Beautiful Free Posters Celebrating the Achievements of Living Female STEM Leaders

Remem­ber the posters that dec­o­rat­ed your child­hood or teenaged bed­room?

Of course you do.

Whether aspi­ra­tional or inspi­ra­tional, these images are amaz­ing­ly potent.

I’m a bit embar­rassed to admit what hung over my bed, espe­cial­ly in light of a cer­tain CGI adap­ta­tion…

No such wor­ries with a set of eight free down­load­able posters hon­or­ing eight female trail­blaz­ers in the fields of sci­ence, tech­nol­o­gy, engi­neer­ing, and math.

These should prove ever­green.


Com­mis­sioned by Nev­er­the­less, a pod­cast that cel­e­brates women whose advance­ments in STEM fields have shaped—and con­tin­ue to shape—education and learn­ing, each poster is accom­pa­nied with a brief bio­graph­i­cal sketch of the sub­ject.

Nev­er­the­less has tak­en care that the fea­tured achiev­ers are drawn from a wide cul­tur­al and racial pool.

No shame if you’re unfa­mil­iar with some of these extra­or­di­nary women. Their names may not pos­sess the same degree of house­hold recog­ni­tion as Marie Curie, but they will once they’re hang­ing over your daughter’s (or son’s) bed.

It’s worth not­ing that with the excep­tion of the under­sung moth­er of DNA Helix Ros­alind Franklin, these are liv­ing role mod­els. They are:

Astro­naut Dr. Mae Jemi­son

Robot­ics pio­neer Dr. Cyn­thia Breazeal

Math­e­mati­cian Gladys West

Tech inno­va­tor Juliana Rotich

Phar­ma­ceu­ti­cal chemist Tu Youy­ou

Bio­phar­ma­cist and women rights advo­cate Maria da Pen­ha

Biotech­nol­o­gist Dr. Hay­at Sin­di

Kudos, too, to Nev­er­the­less for includ­ing biogra­phies of the eight female illus­tra­tors charged with bring­ing the STEM lumi­nar­ies to aes­thet­i­cal­ly cohe­sive graph­ic life: Lidia Toma­shevskaya,Thandi­we Tsha­bal­alaCami­la RosaXu HuiKari­na PerezJoana NevesGene­va B, and Juli­ette Bro­cal

Lis­ten to Nev­er­the­less’ episode on STEM Role Mod­els here.

Down­load Nev­er­the­less’ free posters in Eng­lish here. You can also down­load zipped fold­ers con­tain­ing all eight posters trans­lat­ed into Brazil­ian Por­tugueseFrenchFrench Cana­di­anGer­manItal­ianSpan­ish, and Sim­pli­fied Chi­nese.

Relat­ed Con­tent:

Pop Art Posters Cel­e­brate Pio­neer­ing Women Sci­en­tists: Down­load Free Posters of Marie Curie, Ada Lovelace & More

Women Sci­en­tists Launch a Data­base Fea­tur­ing the Work of 9,000 Women Work­ing in the Sci­ences

“The Matil­da Effect”: How Pio­neer­ing Women Sci­en­tists Have Been Denied Recog­ni­tion and Writ­ten Out of Sci­ence His­to­ry

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Jan­u­ary 6 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domaincel­e­brates Cape-Cod­di­ties (1920) by Roger Liv­ingston Scaife. Fol­low her @AyunHalliday

Richard Feynman’s “Lost Lecture:” An Animated Retelling

Nobel prize-win­ning physi­cist Richard Feyn­man is “famous in a num­ber of dimen­sions,” says sci­ence and math explain­er Grant Sander­son of the YouTube chan­nel 3blue1brown in the video above. “To sci­en­tists, he’s a giant of 20th cen­tu­ry physics… to the pub­lic, he’s a refresh­ing con­tra­dic­tion to the stereo­types about physi­cists: a safe-crack­ing, bon­go-play­ing, mild­ly phi­lan­der­ing non-con­formist.” Feyn­man is also famous, or infa­mous, for his role in the Man­hat­tan Project and the build­ing of the first atom­ic bomb, after which the FBI kept tabs on him to make sure he would­n’t, like his col­league Klaus Fuchs, turn over nuclear secrets to the Sovi­ets.

He may have led an excep­tion­al­ly event­ful life for an aca­d­e­m­ic sci­en­tist, but to his stu­dents, he was first and fore­most “an excep­tion­al­ly skill­ful teacher… for his uncan­ny abil­i­ty to make com­pli­cat­ed top­ics feel nat­ur­al and approach­able.” Feynman’s teach­ing has since influ­enced mil­lions of read­ers of his wild­ly pop­u­lar mem­oirs and his lec­ture series, record­ed at Cal­tech and pub­lished in three vol­umes in the ear­ly 1960s. (Also see his famous course taught at Cor­nell.) For decades, Feyn­man fans could list off­hand sev­er­al exam­ples of the physicist’s acu­men for explain­ing com­plex ideas in sim­ple, but not sim­plis­tic, terms.

But it wasn’t until the mid-nineties that the pub­lic had access to one of the finest of his Cal­tech lec­tures. Dis­cov­ered in the 1990s and first pub­lished in 1996, the “lost lecture”—titled “The Motion of the Plan­ets Around the Sun”—“uses noth­ing more than advanced high school geom­e­try to explain why the plan­ets orbit the sun ellip­ti­cal­ly rather than in per­fect cir­cles,” as the Ama­zon descrip­tion sum­ma­rizes. You can pur­chase a copy for your­self, or hear it Feyn­man deliv­er for free just below.

Feyn­man gave the talk as the guest speak­er in a 1964 fresh­man physics class. He address­es them, he says, “just for the fun of it”; none of the mate­r­i­al would be on the test. Nev­er­the­less, he end­ed up host­ing an infor­mal 20-minute Q&A after­wards. Giv­en his audi­ence, Feyn­man assumes only the most basic pri­or knowl­edge of the sub­ject: an expla­na­tion for why the plan­ets make ellip­ti­cal orbit around the sun. “It ulti­mate­ly has to do with the inverse square law,” says Sander­son, “but why?”

Part of the prob­lem with the lec­ture, as its dis­cov­er­ers David and Judith Goodstein—husband and wife physi­cist and archivist at Caltech—found, involves Feynman’s exten­sive ref­er­ence to fig­ures he draws on the black­board. It took some time for the two to dig these dia­grams up in a set of class notes. In Sanderson’s video at the top, we get some­thing per­haps even bet­ter: ani­mat­ed phys­i­cal rep­re­sen­ta­tions of the math­e­mat­ics that deter­mine plan­e­tary motion. We need not know this math in depth to grasp what Feyn­man calls his “ele­men­tary” expla­na­tion.

“Ele­men­tary” in this case, despite com­mon usage, does not mean “easy,” Feyn­man says. It means “that very lit­tle is required to know ahead of time in order to under­stand it, except to have an infi­nite amount of intel­li­gence.” That last part is a typ­i­cal bit of humor. Even those of who haven’t pur­sued math or physics much beyond the high school lev­el can learn the basic out­lines of plan­e­tary motion in Feynman’s wit­ty lec­ture, sup­ple­ment­ed by the video visu­al aids Sander­son offers at the top.

Relat­ed Con­tent:

The Feyn­man Lec­tures on Physics, The Most Pop­u­lar Physics Book Ever Writ­ten, Is Now Com­plete­ly Online

‘The Char­ac­ter of Phys­i­cal Law’: Richard Feynman’s Leg­endary Course Pre­sent­ed at Cor­nell, 1964

Learn How Richard Feyn­man Cracked the Safes with Atom­ic Secrets at Los Alam­os

Richard Feyn­man on the Bon­gos

Richard Feyn­man Plays the Bon­gos

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

Neil deGrasse Tyson Teaches Scientific Thinking and Communication in a New Online Course

One does­n’t nor­mal­ly get into astro­physics for the fame. But some­times one gets famous any­way, as has astro­physi­cist Neil DeGrasse Tyson, Direc­tor of the Hay­den Plan­e­tar­i­um at the Rose Cen­ter for Earth and Space. But that title does­n’t even hint at the scope of his pub­lic-fac­ing ven­tures, from the columns he’s writ­ten in mag­a­zines like Nat­ur­al His­to­ry and Star­Date to his host­ing of tele­vi­sion shows like NOVA and the sequel to Carl Sagan’s Cos­mos to his pod­cast StarTalk and his high-pro­file social media pres­ence. Has any oth­er fig­ure in the annals of sci­ence com­mu­ni­ca­tion been as pro­lif­ic, as out­spo­ken, and as will­ing to talk to any­one and do any­thing?

Here on Open Cul­ture, we’ve fea­tured Tyson rec­om­mend­ing booksgiv­ing a brief his­to­ry of every­thingdeliv­er­ing “the great­est sci­ence ser­mon ever,” chat­ting about NASA’s fly­by of Plu­to with Stephen Col­bert, “per­form­ing” in a Sym­pho­ny of Sci­ence video, invent­ing a physics-based wrestling move in high schoollook­ing hip in grad schooldefend­ing sci­ence in 272 wordsbreak­ing down the genius of Isaac New­tontalk­ing non-New­ton­ian solids with a nine-year-olddis­cussing the his­to­ry of video gamescre­at­ing a video game with Neil Gaiman and George R.R. Mar­tinselect­ing the most astound­ing fact about the uni­verseexplain­ing the impor­tance of arts edu­ca­tion along­side David Byrnepon­der­ing whether the uni­verse has a pur­posedebat­ing whether or not we live in a sim­u­la­tionremem­ber­ing when first he met Carl Saganinter­view­ing Stephen Hawk­ing just days before the lat­ter’s death, and of course, moon­walk­ing.

Now comes Tyson’s lat­est media ven­ture: a course from Mas­ter­class, the online edu­ca­tion com­pa­ny that spe­cial­izes in bring­ing big names from var­i­ous fields in front of the cam­era and get­ting them to tell us what they know. (Oth­er teach­ers include Mal­colm Glad­well, Steve Mar­tin, and Wern­er Her­zog.) “Neil DeGrasse Tyson Teach­es Sci­en­tif­ic Think­ing and Com­mu­ni­ca­tion,” whose trail­er you can watch above, gets into sub­jects like the sci­en­tif­ic method, the nature of skep­ti­cism, cog­ni­tive and cul­tur­al bias, com­mu­ni­ca­tion tac­tics, and the inspi­ra­tion of curios­i­ty. “There’s, like, a gazil­lion hours of me on the inter­net,” admits Tyson, and though none of those may cost $90 USD (or $180 for an all-access pass to all of Mas­ter­class’ offer­ings), in none of them has he tak­en on quite the goal he does in his Mas­ter­class: to teach how to “not only find objec­tive truth, but then com­mu­ni­cate to oth­ers how to get there. It’s not good enough to be right. You also have to be effec­tive.” You can sign up Tyson’s course here.

If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Relat­ed Con­tent:

Mas­ter­class Is Run­ning a “Buy One, Give One Free” Deal

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

Neil deGrasse Tyson Presents a Brief His­to­ry of Every­thing in an 8.5 Minute Ani­ma­tion

An Ani­mat­ed Neil deGrasse Tyson Gives an Elo­quent Defense of Sci­ence in 272 Words, the Same Length as The Get­tys­burg Address

Neil deGrasse Tyson Says This Short Film on Sci­ence in Amer­i­ca Con­tains Per­haps the Most Impor­tant Words He’s Ever Spo­ken

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Phenomena of Physics Illustrated with Psychedelic Art in an Influential 19th-Century Textbook

The sci­ence of optics and the fine art of sci­ence illus­tra­tion arose togeth­er in Europe, from the ear­ly black-and-white col­or wheel drawn by Isaac New­ton in 1704 to the bril­liant­ly hand-col­ored charts and dia­grams of Goethe in 1810. Goethe’s illus­tra­tions are more renowned than Newton’s, but both inspired a con­sid­er­able num­ber of sci­en­tif­ic artists in the 19th cen­tu­ry. It would take a sci­ence writer, the French jour­nal­ist and math­e­mati­cian Amédée Guillemin, to ful­ly grasp the poten­tial of illus­tra­tion as a means of con­vey­ing the mind-bend­ing prop­er­ties of light and col­or to the gen­er­al pub­lic.

Guillemin pub­lished the huge­ly pop­u­lar text­book Les phénomènes de la physique in 1868, even­tu­al­ly expand­ing it into a five-vol­ume physics ency­clo­pe­dia. (View and down­load a scanned copy at the Well­come Col­lec­tion.) He real­ized that in order to make abstract the­o­ries “com­pre­hen­si­ble” to lay read­ers, Maria Popo­va writes at Brain Pick­ings, “he had to make their ele­gant abstract math­e­mat­ics tan­gi­ble and cap­ti­vat­ing for the eye. He had to make physics beau­ti­ful.” Guillemin com­mis­sioned artists to make 31 col­ored lith­o­graphs, 80 black-and-white plates, and 2,012 illus­trat­ed dia­grams of the phys­i­cal phe­nom­e­na he described.

The most “psy­che­del­ic-look­ing illus­tra­tions,” notes the Pub­lic Domain Review, are by Parisian intaglio print­er and engraver René Hen­ri Digeon and “based on images made by the physi­cist J. Sil­ber­mann show­ing how light waves look when they pass through var­i­ous objects, rang­ing from a bird’s feath­er to crys­tals mount­ed and turned in tour­ma­line tongs.”

Digeon also illus­trat­ed the “spec­tra of var­i­ous light sources, solar, stel­lar, metal­lic, gaseous, elec­tric,” above, and cre­at­ed a col­or wheel, fur­ther down, based on a clas­si­fi­ca­tion sys­tem of French chemist Michel Eugène Chevreul.

Many of Digeon’s images “were used to explain the phe­nom­e­non of bire­frin­gence, or dou­ble refrac­tion,” the Pub­lic Domain Review writes (hence the dou­ble rain­bow). In addi­tion to his strik­ing plates, this sec­tion of the book also includes the image of the soap bub­ble above, by artist M. Rap­ine, based on a paint­ing by Alexan­dre-Blaise Des­goffe.

[The artists’] sub­jects were not cho­sen hap­haz­ard­ly. New­ton was famous­ly inter­est­ed in the iri­des­cence of soap bub­bles. His obser­va­tions of their refrac­tive capac­i­ties helped him devel­op the undu­la­to­ry the­o­ry of light. But he was no stranger to feath­ers either. In the Opticks (1704), he not­ed with won­der that, “by look­ing on the Sun through a Feath­er or black Rib­band held close to the Eye, sev­er­al Rain-bows will appear.”

In turn, Guillemin’s lav­ish­ly illus­trat­ed ency­clo­pe­dia con­tin­ues to influ­ence sci­en­tif­ic illus­tra­tions of light and col­or spec­tra. “In order thus to place itself in com­mu­nion with Nature,” he wrote, “our intel­li­gence draws from two springs, both bright and pure, and equal­ly fruitful—Art and Sci­ence.” See more art from the book at Brain Pick­ings and the Pub­lic Domain Review.

Relat­ed Con­tent:

The Vibrant Col­or Wheels Designed by Goethe, New­ton & Oth­er The­o­rists of Col­or (1665–1810)

Goethe’s Col­or­ful & Abstract Illus­tra­tions for His 1810 Trea­tise, The­o­ry of Col­ors: Scans of the First Edi­tion

A 900-Page Pre-Pan­tone Guide to Col­or from 1692: A Com­plete Dig­i­tal Scan

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

The Prado Museum Digitally Alters Four Masterpieces to Strikingly Illustrate the Impact of Climate Change

Accord­ing to the Unit­ed Nations’ Inter­gov­ern­men­tal Pan­el on Cli­mate Change, glob­al warm­ing is like­ly to reach 1.5°C above pre-indus­tri­al lev­els between 2030 and 2052 should it con­tin­ue to increase at its cur­rent rate.

What does this mean, exact­ly?

A cat­a­stroph­ic series of chain reac­tions, includ­ing but not lim­it­ed to:

–Sea lev­el rise
–Change in land and ocean ecosys­tems
–Increased inten­si­ty and fre­quen­cy of weath­er extremes
–Tem­per­a­ture extremes on land
–Drought due to pre­cip­i­ta­tion deficits
–Species loss and extinc­tion

Look to the IPCC’s 2018 Spe­cial Report: Glob­al Warm­ing of 1.5°C for more specifics, or have a gan­der at these dig­i­tal updates of mas­ter­pieces in Madrid’s Museo del Pra­do’s col­lec­tions.

The muse­um col­lab­o­rat­ed with the World Wildlife Fund, choos­ing four paint­ings to be altered in time for the recent­ly wrapped Madrid Cli­mate Change Con­fer­ence.

Artist Julio Fala­gan brings extreme drought to bear on El Paso de la Lagu­na Esti­gia (Charon Cross­ing the Styx) by Joachim Patinir, 1520 — 1524

Mar­ta Zafra rais­es the sea lev­el on Felipe IV a Cabal­lo (Philip the IV on Horse­back) by Velázquez, cir­ca 1635.

The Para­sol that sup­plies the title for Fran­cis­co de Goya’s El Quitasol of 1777 becomes a tat­tered umbrel­la bare­ly shel­ter­ing mis­er­able, crowd­ed refugees in the sod­den, makeshift camp of Pedro Veloso’s reimag­in­ing.

And the Niños en la Playa cap­tured relax­ing on the beach in 1909 by Joaquín Sorol­la now com­pete for space with dead fish, as observed by artist Con­spir­a­cy 110 years fur­ther along.

None of the orig­i­nal works are cur­rent­ly on dis­play.

It would be a pub­lic ser­vice if they were, along­side their dras­ti­cal­ly retouched twins and per­haps Hierony­mus Bosch’s The Gar­den of Earth­ly Delights, to fur­ther unnerve view­ers about the sort of hell we’ll soon be fac­ing if we, too, don’t make some major alter­ations.

For now the works in the +1.5ºC Lo Cam­bia Todo (+1.5ºC Changes Every­thing) project are mak­ing an impact on giant bill­boards in Madrid, as well as online.

#LoCam­bi­aTo­do

via Colos­sal

Relat­ed Con­tent:

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

Cli­mate Change Gets Strik­ing­ly Visu­al­ized by a Scot­tish Art Instal­la­tion

A Cen­tu­ry of Glob­al Warm­ing Visu­al­ized in a 35 Sec­ond Video

Per­pet­u­al Ocean: A Van Gogh-Like Visu­al­iza­tion of our Ocean Cur­rents

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Jan­u­ary 6 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domaincel­e­brates Cape-Cod­di­ties by Roger Liv­ingston Scaife (1920). Fol­low her @AyunHalliday.

Plants Emit High-Pitched Sounds When They Get Cut, or Stressed by Drought, a New Study Shows

Image via Wiki­me­dia Com­mons

Are plants sen­tient? We know they sense their envi­ron­ments to a sig­nif­i­cant degree; like ani­mals, they can “see” light, as a New Sci­en­tist fea­ture explains. They “live in a very tac­tile world,” have a sense of smell, respond to sound, and use taste to “sense dan­ger and drought and even to rec­og­nize rel­a­tives.” We’ve pre­vi­ous­ly high­light­ed research here on how trees talk to each oth­er with chem­i­cal sig­nals and form social bonds and fam­i­lies. The idea sets the imag­i­na­tion run­ning and might even cause a lit­tle para­noia. What are they say­ing? Are they talk­ing about us?

Maybe we deserve to feel a lit­tle uneasy around plant life, giv­en how ruth­less­ly our con­sumer economies exploit the nat­ur­al world. Now imag­ine we could hear the sounds plants make when they’re stressed out. In addi­tion to releas­ing volatile chem­i­cals and show­ing “altered phe­no­types, includ­ing changes in col­or, smell, and shape,” write the authors of a new study pub­lished at bioRx­iv, it’s pos­si­ble that plants “emit air­borne sounds [their empha­sis] when stressed—similarly to many ani­mals.”

The researchers who test­ed this hypoth­e­sis at Tel Aviv Uni­ver­si­ty “found that toma­to and tobac­co plants made sounds at fre­quen­cies humans can­not hear,” New Sci­en­tist reports. “Micro­phones placed 10 cen­time­tres from the plants picked up sounds in the ultra­son­ic range of 20 to 100 kilo­hertz, which the team say insects and some mam­mals would be capa­ble of hear­ing and respond­ing to from as far as 5 metres away.”

The plants made these sounds when stressed by lack of water or when their stems were cut. Toma­to plants stressed by drought made an aver­age of 35 sounds per hour. Tobac­co plants, on aver­age, made 11. Unstressed plants, by con­trast, “pro­duced few­er than one sound per hour.” The sci­en­tists used machine learn­ing to dis­tin­guish between dif­fer­ent kinds of dis­tress calls, as it were, and dif­fer­ent kinds of plants, “cor­rect­ly iden­ti­fy­ing in most cas­es whether the stress was caused by dry­ness or a cut,” and they con­duct­ed the exper­i­ments in both closed acoustic cham­bers and a green­house.

Plants do not, of course, have vocal cords or audi­to­ry sys­tems. But they do expe­ri­ence a process known as “cav­i­ta­tion,” in which “air bub­bles form, expand and explode in the xylem, caus­ing vibra­tions,” the paper explains. These vibra­tions have been record­ed in the past by direct, con­tact-based meth­ods. This new study, which has yet to pass peer review, might be the first to show how plants might use sound to com­mu­ni­cate with each oth­er and with oth­er liv­ing organ­isms, sug­gest­ing “a new modal­i­ty of sig­nal­ing.”

The pos­si­bil­i­ties for future research are fas­ci­nat­ing. We might learn, for exam­ple, that “if plants emit sounds in response to a cater­pil­lar attack, preda­tors such as bats could use these sounds to detect attacked plants and prey on the her­bi­vores, thus assist­ing the plant.” And just as trees are able to respond to each oth­er’s dis­tress when they’re con­nect­ed in a for­est, “plants could poten­tial­ly hear their drought stressed or injured neigh­bors and react accordingly”—however that might be.

Much remains to be learned about the sen­so­ry lives of plants. Whether their active calls and respons­es to the stim­uli around them are indica­tive of a kind of con­scious­ness seems like a philo­soph­i­cal as much as a bio­log­i­cal ques­tion. But “even if the emis­sion of the sounds is entire­ly invol­un­tary,” the researchers write (seem­ing to leave room for plant voli­tion), it’s a phe­nom­e­non that counts as a form of com­mu­ni­ca­tion: maybe even what we might some­day call plant lan­guage, dif­fer­ent from species to species and, per­haps, between indi­vid­ual plants them­selves.

Relat­ed Con­tent:

The Secret Lan­guage of Trees: A Charm­ing Ani­mat­ed Les­son Explains How Trees Share Infor­ma­tion with Each Oth­er

The Social Lives of Trees: Sci­ence Reveals How Trees Mys­te­ri­ous­ly Talk to Each Oth­er, Work Togeth­er & Form Nur­tur­ing Fam­i­lies

Graph­ic Shows the House Plants That Nat­u­ral­ly Clean the Air in Your Home, Accord­ing to a NASA Study

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

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Open Culture was founded by Dan Colman.