UnpreceÂdentÂed and insaneÂly demandÂing, Wang made hisÂtoÂry. These five pieces include two-and-a-half hours of music, 621 pages of score, and more than 97,000 piano notes.
How high did Wang’s heart rate go? We won’t proÂvide spoilÂers. It plays out above.
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Albert EinÂstein develÂoped his theÂoÂry of speÂcial relÂaÂtivÂiÂty in 1905, and then menÂtalÂly mapped out his theÂoÂry of genÂerÂal relÂaÂtivÂiÂty between 1907 and 1915. For years to come, the rest of the world would try to catch up with EinÂstein, tryÂing to underÂstand the gist, let alone the full impliÂcaÂtions, of his groundÂbreakÂing ideas.
Above, you can watch one such attempt. ProÂduced by Max and David FleisÂchÂer, best known for their BetÂty Boop and SuperÂman carÂtoons, The EinÂstein TheÂoÂry of RelÂaÂtivÂiÂty used the powÂer of aniÂmaÂtion to explain relÂaÂtivÂiÂty to a broad, non-sciÂenÂtifÂic audiÂence in 1923. One of the first eduÂcaÂtionÂal sciÂence films ever made, the silent aniÂmatÂed film was creÂatÂed with the assisÂtance of sciÂence jourÂnalÂist GarÂrett P. Serviss and othÂer experts who had a hanÂdle on EinÂstein’s theÂoÂries. AccordÂing to a biogÂraÂphy of Max FleisÂchÂer, the film was “an out-and-out sucÂcess.” “The critÂics and the pubÂlic applaudÂed it. And EinÂstein did too, apparÂentÂly deemÂing it an “excelÂlent attempt to illusÂtrate an abstract subÂject.”
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So many writÂers have been garÂdenÂers and have writÂten about garÂdens that it might be easÂiÂer to make a list of those who didn’t. But even in this crowdÂed comÂpaÂny, EmiÂly DickÂinÂson stands out. She not only attendÂed the fragÂile beauÂty of flowÂers with an artist’s eye—before she’d writÂten any of her famous verse—but she did so with the keen eye of a botanist, a field of work then open to anyÂone with the leisure, curiosÂiÂty, and creÂativÂiÂty to underÂtake it.
“In an era when the sciÂenÂtifÂic estabÂlishÂment barred and boltÂed its gates to women,” Brain PickÂings’ Maria PopoÂva writes, “botany allowed VicÂtoÂriÂan women to enter sciÂence through the perÂmisÂsiÂble backÂdoor of art.”
AssemÂbled in a patÂterned green album bought from the SpringÂfield staÂtionÂer G. & C. MerÂriÂam, the herbarÂiÂum conÂtains 424 specÂiÂmens arranged on 66 leaves and delÂiÂcateÂly attached with small strips of paper. The specÂiÂmens are either native plants, plants natÂuÂralÂized to WestÂern MassÂaÂchuÂsetts, where DickÂinÂson lived, or houseÂplants. Every page is accomÂpaÂnied by a tranÂscripÂtion of Dickinson’s neat handÂwritÂten labels, which idenÂtiÂfies each plant by its sciÂenÂtifÂic name.
The book is thought to have been finÂished by the time she was 14 years old. Long part of Harvard’s Houghton Library colÂlecÂtion, it has also long been treatÂed as too fragÂile for anyÂone to view. The only access has come in the form of grainy, black and white phoÂtographs. For the past few years, howÂevÂer, scholÂars and lovers of Dickinson’s work have been able to see the herbarÂiÂum in these stunÂning reproÂducÂtions.
The pages are so forÂmalÂly comÂposed they look like paintÂings from a disÂtance. Though mostÂly unknown as a poet in her life, DickÂinÂson was localÂly renowned in Amherst as a garÂdenÂer and “expert plant idenÂtiÂfiÂer,” notes Sara C. Ditsworth. The herbarÂiÂum may or may not offer a winÂdow of insight into Dickinson’s litÂerÂary mind. Houghton Library curaÂtor Leslie A. MorÂris, who wrote the forÂward to the facÂsimÂiÂle ediÂtion, seems skepÂtiÂcal. “I think that you could read a lot into the herbarÂiÂum if you wantÂed to,” she says, “but you have no way of knowÂing.”
And yet we do. It may be imposÂsiÂble to sepÂaÂrate DickÂinÂson the garÂdenÂer and botanist from DickÂinÂson the poet and writer. As Ditsworth points out, “accordÂing to Judith Farr, author of The GarÂdens of EmiÂly DickÂinÂson, one-third of Dickinson’s poems and half of her letÂters menÂtion flowÂers. She refers to plants almost 600 times,” includÂing 350 refÂerÂences to flowÂers. Both her herbarÂiÂum and her poetÂry can be sitÂuÂatÂed withÂin the 19th cenÂtuÂry “lanÂguage of flowÂers,” a senÂtiÂmenÂtal genre that DickÂinÂson made her own, with her ellipÂtiÂcal entwinÂing of pasÂsion and secreÂcy.
The first two specÂiÂmens in Dickinson’s herbarÂiÂum are the jasÂmine and the privÂet: “You have jasÂmine for poetÂry and pasÂsion” in the lanÂguage of flowÂers, MorÂris points out, “and privÂet,” a hedge plant, “for priÂvaÂcy.” There is no need to see this arrangeÂment as a preÂdicÂtion of the future from the teenage botanist DickÂinÂson. Did she plan from adoÂlesÂcence to become a recluse poet in latÂer life? PerÂhaps not. But we can cerÂtainÂly “read into” the lanÂguage of her herbarÂiÂum some of the same great themes that recur over and over in her work, carÂried across by images of plants and flowÂers. See Dickinson’s comÂplete herbarÂiÂum at HarÂvard Library’s digÂiÂtal colÂlecÂtions here, or purÂchase a (very expenÂsive) facÂsimÂiÂle ediÂtion of the book here.
Note: Note: An earÂliÂer verÂsion of this post appeared on our site in 2019.
Aldous HuxÂley put himÂself forÂevÂer on the intelÂlecÂtuÂal map when he wrote the dystopiÂan sci-fi novÂel Brave New Worldin 1931. (LisÂten to HuxÂley narÂratÂing a draÂmaÂtized verÂsion here.) The British-born writer was livÂing in Italy at the time, a conÂtiÂnenÂtal intelÂlecÂtuÂal par excelÂlence.
Then, six years latÂer, HuxÂley turned all of this upside down. He headÂed West, to HolÂlyÂwood, the newest of the New World, where he took a stab at writÂing screenÂplays (with not much luck) and startÂed experÂiÂmentÂing with mysÂtiÂcism and psyÂcheÂdelics — first mescaÂline in 1953, then LSD in 1955. This put HuxÂley at the foreÂfront of the counÂterÂculÂture’s experÂiÂmenÂtaÂtion with psyÂcheÂdelÂic drugs, someÂthing he docÂuÂmentÂed in his 1954 book, The Doors of PerÂcepÂtion.
HuxÂley’s experÂiÂmenÂtaÂtion conÂtinÂued until his death in NovemÂber 1963. When canÂcer brought him to his deathbed, he asked his wife to inject him with “LSD, 100 µg, intraÂmusÂcuÂlar.” He died tripÂping latÂer that day, just hours after Kennedy’s assasÂsiÂnaÂtion. Three years latÂer, LSD was offiÂcialÂly banned in CalÂiÂforÂnia.
By way of footÂnote, it’s worth menÂtionÂing that the AmerÂiÂcan medÂical estabÂlishÂment is now givÂing halÂluÂcinoÂgens a secÂond look, conÂductÂing conÂtrolled studÂies of how psiloÂcyÂbin and othÂer psyÂcheÂdelics can help treat patients dealÂing with canÂcer, obsesÂsive-comÂpulÂsive disÂorÂder, post-trauÂmatÂic stress disÂorÂder, drug/alcohol addicÂtion and end-of-life anxÂiÂety.
For a look at the hisÂtoÂry of LSD, we recÂomÂmend the 2002 film Hofmann’s Potion by CanaÂdiÂan filmÂmakÂer ConÂnie LitÂtleÂfield. You can watch it here.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
Here at Open CulÂture, Richard FeynÂman is nevÂer far from our minds. Though he disÂtinÂguished himÂself with his work on the develÂopÂment of the atomÂic bomb and his Nobel Prize-winÂning research on quanÂtum elecÂtroÂdyÂnamÂics, you need no speÂcial interÂest in either World War II or theÂoÂretÂiÂcal physics to look to him as an intelÂlecÂtuÂal modÂel. In the years after his death in 1988, his legÂend grew as not just a sciÂenÂtifÂic mind but even more so as a verÂiÂtaÂble perÂsonÂiÂfiÂcaÂtion of curiosÂiÂty, surÂroundÂed by stoÂries (delibÂerÂateÂly culÂtiÂvatÂed by him in his lifeÂtime) of safe-crackÂing, bonÂgo-playÂing, and nude modÂel-drawÂing, to the point that FeynÂman the man became someÂwhat hard to disÂcern.
In the view of FreakoÂnomÂics Radio host Stephen DubÂnÂer, FeynÂman’s pubÂlic proÂfile has lateÂly fallÂen into an unforÂtuÂnate desueÂtude. It seems that peoÂple just don’t talk about him the way they used to, hard though that is to imagÂine for any of us who grew up readÂing colÂlecÂtions of anecÂdotes like SureÂly You’re JokÂing, Mr. FeynÂman!.
“The CuriÂous, BrilÂliant, VanÂishÂing Mr. FeynÂman” (also availÂable on Apple and SpoÂtiÂfy) includes a variÂety of interÂviews with its subÂjecÂt’s friends, relÂaÂtives, colÂlabÂoÂraÂtors, and sucÂcesÂsors. All speak highÂly of him, though some comÂpliÂcate the legÂend by lookÂing at the downÂsides of his idioÂsynÂcratÂic attiÂtudes toward both sciÂence and the social world: his insisÂtence on underÂstandÂing everyÂthing by figÂurÂing it out himÂself from scratch may have led to him makÂing fewÂer disÂcovÂerÂies than he would have, had he made more use of the research of othÂers, and his enthuÂsiÂasm for womÂankind, shall we say, manÂiÂfestÂed in ways that would probÂaÂbly genÂerÂate calls for “canÂcelÂlaÂtion” today. But just as FeynÂman eschewed the label of “genius,” he nevÂer claimed to be a perÂfect human being. And besides, it isn’t his social incliÂnaÂtions or even his bonÂgo skills we should admire, but his dedÂiÂcaÂtion to defeatÂing “lousy ideas” — which, as he no doubt expectÂed, have only proÂlifÂerÂatÂed since he left us.
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
Could you use a menÂtal escape? Maybe a trip to Mars will do the trick. Above, you can find high defÂiÂnÂiÂtion footage capÂtured by NASA’s three Mars rovers–Spirit, OpporÂtuÂniÂty and CuriosÂiÂty. The footage (also conÂtributed by JPL-CalÂtech, MSSS, CorÂnell UniÂverÂsiÂty and ASU) was stitched togethÂer by ElderÂFox DocÂuÂmenÂtaries, creÂatÂing what they call the most lifeÂlike expeÂriÂence of being on Mars. Adding more conÂtext, Elder Fox notes:
The footage, capÂtured directÂly by NASA’s Mars rovers — SpirÂit, OpporÂtuÂniÂty, CuriosÂiÂty, and PerÂseÂverÂance — unveils the red planÂet’s intriÂcate details. These rovers, actÂing as robotÂic geolÂoÂgists, have traÂversed varÂied terÂrains, from ancient lake beds to towÂerÂing mounÂtains, uncovÂerÂing Mars’ comÂplex geoÂlogÂiÂcal hisÂtoÂry.
As viewÂers enjoy these images, they will notice inforÂmal place names assigned by NASA’s team, proÂvidÂing conÂtext to the MarÂtÂian feaÂtures observed. Each rover’s unique jourÂney is highÂlightÂed, showÂcasÂing their conÂtriÂbuÂtions to MarÂtÂian exploÂration.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
EspeÂcialÂly when you’re trackÂing the conÂtiÂnenÂtal moveÂment from Pangea to the present day in 5 milÂlion years increÂments at the rate of 2.5 milÂlion years per secÂond.
Here’s a map of what things looked like back then.
Those who’ve grown a bit fuzzy on their geogÂraÂphy may require some indiÂcaÂtions of where future landÂmassÂes formed when Pangea broke apart. Your map apps can’t help you here.
The first split occurred in the midÂdle of the JurasÂsic periÂod, resultÂing in two hemiÂspheres, LauraÂsia to the north and GondÂwana.
As the project’s stoÂry map notes, 175 milÂlion years ago Africa and South AmerÂiÂca already bore a resemÂblance to their modÂern day conÂfigÂuÂraÂtions.
North AmerÂiÂca, Asia, and Europe needÂed to stay in the oven a bit longer, their familÂiar shapes beginÂning to emerge between 150 and 120 milÂlion years ago.
India peeled off from its “mothÂer” conÂtiÂnent of GondÂwana some 100 milÂlion years ago.
Its tecÂtonÂic plate colÂlidÂed with the Eurasian Plate, givÂing rise to the Himalayas and the Tibetan Plateau, by which point, dinosaurs had been extinct for about 15 milÂlion years…)
GeogÂraÂphy nerds may chafe at the seemÂingÂly inacÂcuÂrate sizes of GreenÂland, AntarcÂtiÂca and AusÂtralia. Rest assured that the mapÂmakÂers are aware, chalkÂing it to the “disÂtorÂtion of the carÂtoÂgraphÂic proÂjecÂtion that exagÂgerÂates areas close to the Poles.”
Just for fun, let’s run it backÂwards!
But enough of the past. What of the future?
Those who realÂly want to know could jump ahead to the end of the stoÂry map to see PALEOMAP Project founder ChristoÂpher Scotese’s specÂuÂlaÂtive conÂfigÂuÂraÂtion of earth 250 milÂlion years hence, should curÂrent tecÂtonÂic plate motion trends conÂtinÂue.
Behold his vision of mega-conÂtiÂnent, Pangea ProxÂiÂma, a landÂmass “formed from all curÂrent conÂtiÂnents, with an apparÂent excepÂtion of New Zealand, which remains a bit on the side:”
On the oppoÂsite side of the world, North AmerÂiÂca is tryÂing to fit to Africa, but it seems like it does not have the right shape. It will probÂaÂbly need more time…
Not to bum you out, but a more recent study paints a grimÂmer picÂture of a comÂing superÂconÂtiÂnent, Pangea UltiÂma, when extreme temÂperÂaÂtures have renÂdered just 8 perÂcent of Earth’s surÂface hosÂpitable to mamÂmals, should they surÂvive at all.
As the study’s co-author, cliÂmaÂtolÂoÂgist AlexanÂder Farnsworth, told Nature News, humans might do well to get “off this planÂet and find someÂwhere more habÂitÂable.”
From the RoyÂal SociÂety comes a short primer on snowflakes. NarÂratÂed by physiÂcist BriÂan Cox, the video explains how they form, and why no two snowflakes have the exact same dimenÂsions. It also recounts how Johannes Kepler develÂoped a groundÂbreakÂing theÂoÂry about the hexagÂoÂnal shape of snowflakes in 1611–one proved right 400 years latÂer. And then comes the kickÂer: snowflakes aren’t actuÂalÂly white; they’re clear.
Along the way, Cox refÂerÂences the first phoÂtographs of snowflakes. You can find our post on those 1885phoÂtographs here.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
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