Isaac Asimov Predicts in 1983 What the World Will Look Like in 2019: Computerization, Global Co-operation, Leisure Time & Moon Mining

Paint­ing of Asi­mov on his throne by Rowe­na Morill, via Wiki­me­dia Com­mons

“It’s dif­fi­cult to make pre­dic­tions,” they say, “espe­cial­ly about the future.” The wit­ti­cism has been var­i­ous­ly attrib­uted. If Yogi Berra said it, it’s adorable non­sense, if Mark Twain, dry plain­spo­ken irony. If Niels Bohr, how­ev­er, we have a state­ment that makes us won­der what exact­ly “the future” could mean in a rad­i­cal­ly uncer­tain uni­verse.

If sci­en­tists can’t pre­dict the future, who can? Sci­ence fic­tion writ­ers, of course. They may be spec­tac­u­lar­ly wrong at times, but few pro­fes­sion­als seem bet­ter equipped to imag­i­na­tive­ly extrap­o­late from cur­rent conditions—cultural, tech­no­log­i­cal, social, and political—and show us things to come. J.G. Bal­lard, Octavia But­ler, Arthur C. Clarke, Kurt Von­negut… all have fore­seen many of the mar­vels and dystopi­an night­mares that have arrived since their time.

In 1964, Asi­mov used the occa­sion of the New York World’s Fair to offer his vision of fifty years hence. “What will the World’s Fair of 2014 be like?” he asked in The New York Times, the ques­tion itself con­tain­ing an erro­neous assump­tion about the dura­bil­i­ty of that event. As a sci­en­tist him­self, his ideas are both tech­no­log­i­cal­ly farsee­ing and con­ser­v­a­tive, con­tain­ing advances we can imag­ine not far off in our future, and some that may seem quaint now, though rea­son­able by the stan­dards of the time (“fis­sion-pow­er plants… sup­ply­ing well over half the pow­er needs of human­i­ty”).

Nine­teen years lat­er, Asi­mov ven­tured again to pre­dict the future—this time of 2019 for The Star. Assum­ing the world has not been destroyed by nuclear war, he sees every facet of human soci­ety trans­formed by com­put­er­i­za­tion. This will, as in the Indus­tri­al Rev­o­lu­tion, lead to mas­sive job loss­es in “cler­i­cal and assem­bly-line jobs” as such fields are auto­mat­ed. “This means that a vast change in the nature of edu­ca­tion must take place, and entire pop­u­la­tions must be made ‘com­put­er-lit­er­ate’ and must be taught to deal with a ‘high-tech’ world,” he writes.

The tran­si­tion to a com­put­er­ized world will be dif­fi­cult, he grants, but we should have things pret­ty much wrapped up by now.

By the year 2019, how­ev­er, we should find that the tran­si­tion is about over. Those who can be retrained and re-edu­cat­ed will have been: those who can’t be will have been put to work at some­thing use­ful, or where rul­ing groups are less wise, will have been sup­port­ed by some sort of grudg­ing wel­fare arrange­ment.

In any case, the gen­er­a­tion of the tran­si­tion will be dying out, and there will be a new gen­er­a­tion grow­ing up who will have been edu­cat­ed into the new world. It is quite like­ly that soci­ety, then, will have entered a phase that may be more or less per­ma­nent­ly improved over the sit­u­a­tion as it now exists for a vari­ety of rea­sons.

Asi­mov fore­sees the cli­mate cri­sis, though he doesn’t phrase it that way. “The con­se­quences of human irre­spon­si­bil­i­ty in terms of waste and pol­lu­tion will become more appar­ent and unbear­able with time and again, attempts to deal with this will become more stren­u­ous.” A “world effort” must be applied, neces­si­tat­ing “increas­ing co-oper­a­tion among nations and among groups with­in nations” out of a “cold-blood­ed real­iza­tion that any­thing less than that will mean destruc­tion for all.”

He is con­fi­dent, how­ev­er, in such “neg­a­tive advances” as the “defeat of over­pop­u­la­tion, pol­lu­tion and mil­i­tarism.” These will be accom­pa­nied by “pos­i­tive advances” like improve­ments in edu­ca­tion, such that “edu­ca­tion will become fun because it will bub­ble up from with­in and not be forced in from with­out.” Like­wise, tech­nol­o­gy will enable increased qual­i­ty of life for many.

more and more human beings will find them­selves liv­ing a life rich in leisure.

This does not mean leisure to do noth­ing, but leisure to do some­thing one wants to do; to be free to engage in sci­en­tif­ic research. in lit­er­a­ture and the arts, to pur­sue out-of-the-way inter­ests and fas­ci­nat­ing hob­bies of all kinds.

If this seems “impos­si­bly opti­mistic,” he writes, just wait until you hear his thoughts on space col­o­niza­tion and moon min­ing.

The Asi­mov of 1983 sounds as con­fi­dent in his pre­dic­tions as the Asi­mov of 1964, though he imag­ines a very dif­fer­ent world each time. His future sce­nar­ios tell us as much or more about the time in which he wrote as they do about the time in which we live. Read his full essay at The Star and be the judge of how accu­rate his pre­dic­tions are, and how like­ly any of his opti­mistic solu­tions for our seem­ing­ly intractable prob­lems might be in the com­ing year.

Relat­ed Con­tent:

In 1964, Isaac Asi­mov Pre­dicts What the World Will Look Like Today: Self-Dri­ving Cars, Video Calls, Fake Meats & More

Philip K. Dick Makes Off-the-Wall Pre­dic­tions for the Future: Mars Colonies, Alien Virus­es & More (1981)

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

Octavia Butler’s 1998 Dystopi­an Nov­el Fea­tures a Fascis­tic Pres­i­den­tial Can­di­date Who Promis­es to “Make Amer­i­ca Great Again”

Sci-Fi Author J.G. Bal­lard Pre­dicts the Rise of Social Media (1977)

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

NASA Creates Movie Parody Posters for Its Expedition Flights: Download Parodies of Metropolis, The Matrix, The Hitchhiker’s Guide to the Galaxy and More

For just over eigh­teen years now, NASA has been con­duct­ing expe­di­tions to the Inter­na­tion­al Space Sta­tion. Each of these mis­sions has not just a name, or at least a num­ber (last week saw the launch of Expe­di­tion 58), but an offi­cial poster with a group pho­to of the crew. “These posters were used to adver­tise expe­di­tions and were also hung in NASA facil­i­ties and oth­er gov­ern­ment orga­ni­za­tions,” says Bored Pan­da. “How­ev­er, when astro­nauts got bored of the stan­dard group pho­tos they decid­ed to spice things up a bit.”

And “what’s a bet­ter way to do that oth­er than throw­ing in some pop cul­ture ref­er­ences?” As any­one who has ever worked with sci­en­tists knows, a fair few of them have some­how made them­selves into liv­ing com­pen­dia of knowl­edge of not just their field but their favorite books, movies, and tele­vi­sion shows — not always, but very often, books, movies, and tele­vi­sion shows sci­ence-fic­tion­al in nature.

The prime exam­ple, it hard­ly bears men­tion­ing, would be Star Trek, but the well of fan­dom at NASA runs much deep­er than that.

You’ll get a sense of how far that well goes if you have a look through the Expe­di­tion poster archive at NASA’s web site. There you’ll find not just pop cul­ture ref­er­ences but elab­o­rate­ly designed trib­utes — down­load­able in high res­o­lu­tion — to the likes of not just Star Trek but Star WarsThe MatrixThe Hitch­hik­er’s Guide to the Galaxy (the sole pos­si­ble theme, Dou­glas Adams fans will agree, for Expe­di­tion 42), and even Fritz Lang’s Metrop­o­lis, which first gave dystopi­an sci-fi its visu­al form in 1927 (and which you can watch here). Albums are also fair game, as evi­denced by the Abbey Road poster for Expe­di­tion 26.

Bored Pan­da calls these posters “hilar­i­ous­ly awk­ward,” but opin­ions do vary: “I love them,” writes Boing Boing’s Rusty Blazen­hoff. “I think they’re fun and cre­ative.” And what­ev­er you think of the con­cepts, can you fail to be impressed by the sheer atten­tion to detail that has clear­ly gone into repli­cat­ing the source images? It’s all more or less in line with the for­mi­da­ble graph­ic design skill at NASA, pre­vi­ous­ly fea­tured here on Open Cul­ture, that has gone into its posters cel­e­brat­ing space trav­el and the 40th anniver­sary of the Voy­ager mis­sions.

Going through the Expe­di­tion poster archive, I notice that none seems yet to have paid trib­ute to Andrei Tarkovsky’s Solarissure­ly one of the most pow­er­ful pieces of out­er space-relat­ed cin­e­ma ever made. Grant­ed, that film has much less to do with team­work and cama­raderie than the intense psy­cho­log­i­cal iso­la­tion of the indi­vid­ual, which would make it tricky indeed to recre­ate any of its mem­o­rable images as proud group pho­tos. But if NASA’s poster design­ers can’t take on that mis­sion, nobody can.

via Boing Boing

Relat­ed Con­tent:

Down­load 14 Free Posters from NASA That Depict the Future of Space Trav­el in a Cap­ti­vat­ing­ly Retro Style

NASA Lets You Down­load Free Posters Cel­e­brat­ing the 40th Anniver­sary of the Voy­ager Mis­sions

How the Icon­ic 1968 “Earth­rise” Pho­to Was Made: An Engross­ing Visu­al­iza­tion by NASA

NASA Presents “The Earth as Art” in a Free eBook and Free iPad App

Won­der­ful­ly Kitschy Pro­pa­gan­da Posters Cham­pi­on the Chi­nese Space Pro­gram (1962–2003)

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

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.

Jazz Musician Plays Acoustic Guitar While Undergoing Brain Surgery, Helping Doctors Monitor Their Progress

Unlike many col­or­ful expres­sions in Eng­lish whose ori­gins are lost to us, the com­par­i­son of major­ly con­se­quen­tial tasks to brain surgery makes per­fect sense. One false move or mis­cal­cu­la­tion can result in instant death. The chances of irre­versible, life-alter­ing dam­age are high, should a scalpel slip or a sur­geon mis­take healthy brain tis­sue for dis­eased. This can hap­pen more read­i­ly than we might like to think. “It can be very dif­fi­cult to tell the dif­fer­ence between the tumor and nor­mal brain tis­sue,” admits Dr. Basil Enick­er, a spe­cial­ist neu­ro­sur­geon at Inkosi Albert Luthuli Cen­tral Hos­pi­tal in South Africa.

An oper­a­tion Enick­er led makes the pro­ce­dure seem like just as much an art as a sci­ence. Dur­ing an “awake cran­ioto­my,” the sur­geon and his team removed a tumor from the brain of Musa Manzi­ni, a South African jazz bassist.

To help them mon­i­tor the oper­a­tion as they went, they had him strum an acoustic gui­tar in the OR. “Pre­sum­ably, had he hit a wrong note,” writes Kimon de Greef at The New York Times, “it would have been an imme­di­ate sig­nal for the sur­geons to probe else­where.” He also car­ried on an extend­ed con­ver­sa­tion with one of the sur­geons, as you can see in the video above.

Such pro­ce­dures are not at all unusu­al. In a sim­i­lar case at the Uni­ver­si­ty of Texas’ MD Ander­son Can­cer Cen­ter, young musi­cian Robert Alvarez strummed his gui­tar while sur­geons removed a tumor near his speech and move­ment cen­ters. In 2014, de Greef reports, “a tenor in the Dutch Nation­al Opera, Ambroz Bajec-Lapa­jne, sang Schubert’s ‘Gute Nacht’ as doc­tors removed a tumor. In 2015, the sax­o­phon­ist Car­los Aguil­era read music and per­formed dur­ing an oper­a­tion in Spain.” That same year, a Brazil­ian man played the Bea­t­les while he under­went brain surgery.

Not all of them are musi­cal, but awake cran­iotomies are so com­mon that Manzi­ni “watched quite a lot of YouTube videos,” he says, “to pre­pare myself men­tal­ly.” As for the shock of being con­scious while sur­geons poke around in your most pre­cious of bod­i­ly organs, mil­lime­ters from pos­si­ble paral­y­sis, etc., well… it’s cer­tain­ly more com­fort­able now than in some of the ear­li­est brain surg­eries we have on fos­sil record—some 8,000 years ago. One won­ders how Neolith­ic patients passed their time under the knife.

Relat­ed Con­tent:

Oliv­er Sacks Explains the Biol­o­gy of Hal­lu­ci­na­tions: “We See with the Eyes, But with the Brain as Well”

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

The Brains of Jazz and Clas­si­cal Musi­cians Work Dif­fer­ent­ly, New Research Shows

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

In Bill Gates Office, There’s a Wall with the Entire Periodic Table with Samples of Each Element

Just a fun fact…

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via Ed Yong/Red­dit

Relat­ed Con­tent:

Inter­ac­tive Peri­od­ic Table of Ele­ments Shows How the Ele­ments Actu­al­ly Get Used in Mak­ing Every­day Things

The Peri­od­ic Table of Ele­ments Scaled to Show The Ele­ments’ Actu­al Abun­dance on Earth

Peri­od­ic Table Bat­tle­ship!: A Fun Way To Learn the Ele­ments

“The Peri­od­ic Table Table” — All The Ele­ments in Hand-Carved Wood

World’s Small­est Peri­od­ic Table on a Human Hair

“The Peri­od­ic Table of Sto­ry­telling” Reveals the Ele­ments of Telling a Good Sto­ry

Chem­istry on YouTube: “Peri­od­ic Table of Videos” Wins SPORE Prize

Free Online Chem­istry Cours­es

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How Music Can Awaken Patients with Alzheimer’s and Dementia

In the late 1950’s, pio­neer­ing free jazz band­leader Sun Ra played a gig at a Chica­go men­tal hos­pi­tal, booked there by his man­ag­er Alton Abra­ham, who had an inter­est in alter­na­tive med­i­cine. The exper­i­ment in musi­cal ther­a­py worked won­ders. One patient who had not moved or spo­ken in years report­ed­ly got up, walked over to the piano, and yelled out, “you call that music!”

The anec­dote illus­trates just one expe­ri­ence among untold mil­lions in which a per­son suf­fer­ing from a debil­i­tat­ing neu­ro­log­i­cal con­di­tion responds pos­i­tive­ly, even mirac­u­lous­ly, it seems, to music.

As famed neu­rol­o­gist and writer Oliv­er Sacks puts it in his book Musi­cophil­ia, “musi­cal per­cep­tion, musi­cal sen­si­bil­i­ty, musi­cal emo­tion and musi­cal mem­o­ry can sur­vive long after oth­er forms of mem­o­ry have dis­ap­peared.”

This med­ical fact makes musi­cal ther­a­py an ide­al inter­ven­tion for patients suf­fer­ing from Alzheimer’s dis­ease and demen­tia. In the short video above, Sacks describes his vis­its to patients in var­i­ous old age homes. “Some of them are con­fused, some are agi­tat­ed, some are lethar­gic, some have almost lost lan­guage,” he says, “but all of them, with­out excep­tion, respond to music.”

We can see just such a response in the clip at the top, in which the bare­ly respon­sive Hen­ry Dry­er, a 92-year-old nurs­ing home res­i­dent with demen­tia, trans­forms when he hears music. “The philoso­pher Kant called music ‘the quick­en­ing art,’ and Henry’s being quick­ened,” says Sacks says of the dra­mat­ic change, “he’s being brought to life.” Sud­den­ly lucid and hap­py, Hen­ry looks up and says, “I’m crazy about music. Beau­ti­ful sounds.”

The clip comes from a doc­u­men­tary called Alive Inside, win­ner of a 2014 Sun­dance Audi­ence Award (see the trail­er above), a film that shows us sev­er­al musi­cal “quick­en­ings” like Henry’s. “Before Dry­er start­ed using his iPod,” notes The Week, “he could only answer yes-or-no questions—and some­times he sat silent­ly and still for hours at a time.” Now, he sings, car­ries on con­ver­sa­tions and can “even recall things from years ago.”

Sacks com­ments that “music imprints itself on the brain deep­er than any oth­er human expe­ri­ence,” evok­ing emo­tions in ways that noth­ing else can. A 2010 Boston Uni­ver­si­ty study showed that Alzheimer’s patients “learned more lyrics when they were set to music rather than just spo­ken.” Like­wise, researchers at the Uni­ver­si­ty of Utah found music to be “an alter­na­tive route for com­mu­ni­cat­ing with patients.”

As senior author of the Utah study, Dr. Nor­man Fos­ter, says, “lan­guage and visu­al mem­o­ry path­ways are dam­aged ear­ly as the dis­ease pro­gress­es, but per­son­al­ized music pro­grams can acti­vate the brain, espe­cial­ly for patients who are los­ing con­tact with their envi­ron­ment.” See the effects for your­self in this extra­or­di­nary film, and learn more about Sacks’ adven­tures with music and the brain in the 2007 dis­cus­sion of Musi­cophil­ia, just above.

Relat­ed Con­tent:

Sun Ra Plays a Music Ther­a­py Gig at a Men­tal Hos­pi­tal; Inspires Patient to Talk for the First Time in Years

Dis­cov­er the Retire­ment Home for Elder­ly Musi­cians Cre­at­ed by Giuseppe Ver­di: Cre­at­ed in 1899, It Still Lives On Today

The French Vil­lage Designed to Pro­mote the Well-Being of Alzheimer’s Patients: A Visu­al Intro­duc­tion to the Pio­neer­ing Exper­i­ment

In Touch­ing Video, Peo­ple with Alzheimer’s Tell Us Which Mem­o­ries They Nev­er Want to For­get

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

Hear the Very First Sounds Ever Recorded on Mars, Courtesy of NASA

Pre­dict­ing the state of the world in 2014 after a vis­it to the 1964 World’s Fair, Isaac Asi­mov wrote that “only unmanned ships will have land­ed on Mars, though a manned expe­di­tion will be in the works and in the 2014 Futu­ra­ma will show a mod­el of an elab­o­rate Mar­t­ian colony.” While we haven’t seen a Futu­ra­ma show in some time (oth­er than the one cre­at­ed by Matt Groen­ing), he was cer­tain­ly right about those unmanned ships, the lat­est of which, four years after the one about which he proph­e­sied, has just picked up the first sounds ever record­ed on the Red Plan­et. You can hear it, prefer­ably with the use of a sub­woofer or a pair of capa­bly bass-repro­duc­ing head­phones, in the video above.

“That’s the sound of winds blow­ing across NASA’s InSight lan­der on Mars, the first sounds record­ed from the red plan­et,” writes the New York Times’ Ken­neth Chang. “It’s all the more remark­able because InSight — which land­ed last week — does not have a micro­phone.”

Instead it picked up this rum­ble, which NASA describes as “caused by vibra­tions from the wind, esti­mat­ed to be blow­ing between 10 to 15 mph (5 to 7 meters a sec­ond),” with its seis­mome­ter and air pres­sure sen­sor right there on Mars’ Ely­si­um Plani­tia where it land­ed. “The winds were con­sis­tent with the direc­tion of dust dev­il streaks in the land­ing area, which were observed from orbit.”

Sci­ence fic­tion enthu­si­asts will note that InSight’s record­ing of Mar­t­ian wind, espe­cial­ly in the more eas­i­ly audi­ble pitched-up ver­sions includ­ed in the video, sounds not unlike the way cer­tain films and tele­vi­sion shows have long imag­ined the son­ic ambi­ence of Mars. NASA did­n’t launch InSight to test the the­o­ries implic­it­ly pre­sent­ed by Hol­ly­wood sound design­ers — rather, to col­lect data on the for­ma­tion of Mars and oth­er rocky plan­ets, as well as to check for the pres­ence of liq­uid water — but they will equip the next Mar­t­ian lan­ders they send out in 2020 with prop­er micro­phones, and not just one but two of them. Among oth­er sci­en­tif­ic tasks, writes Big Think’s Stephen John­son, those micro­phones will be equipped to “lis­ten to what hap­pens when the craft fires a laser at rocks on the sur­face.” Back here on Earth, one ques­tion looms above all oth­ers: which musi­cian will be the first to sam­ple all this?

via Big Think

Relat­ed Con­tent:

NASA Puts Online a Big Col­lec­tion of Space Sounds, and They’re Free to Down­load and Use

NASA Dig­i­tizes 20,000 Hours of Audio from the His­toric Apol­lo 11 Mis­sion: Stream Them Free Online

Hear the Declas­si­fied, Eerie “Space Music” Heard Dur­ing the Apol­lo 10 Mis­sion (1969)

Video: The Min­utes Before & After the Land­ing of the Mars Curios­i­ty Rover

Ray Brad­bury Reads Mov­ing Poem on the Eve of NASA’s 1971 Mars Mis­sion

NASA Releas­es a Mas­sive Online Archive: 140,000 Pho­tos, Videos & Audio Files Free to Search and Down­load

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.

Anatomy of a Fake: Forgery Experts Reveal 5 Ways To Spot a Fake Painting by Jackson Pollock (or Any Other Artist)

In the old days, deter­min­ing an art forgery was most­ly a mat­ter of nar­ra­tive deduc­tion, a la Sher­lock Holmes.

Thi­a­go Piwowar­czyk and Jef­frey Tay­lor, founders of New York Art Foren­sics, employ such tech­niques to estab­lish prove­nance, trac­ing the chain of own­er­ship of any giv­en work back to its orig­i­nal sale by research­ing cat­a­logues, title trans­fers, and cor­re­spon­dence.

But they also bring a num­ber of high tech tools to the table, to fur­ther prove—or in the case of the alleged Jack­son Pol­lock drip paint­ing above, disprove—a work’s authen­tic­i­ty.

In the WIRED video above, these experts, whose pedi­gree includes degrees in Chem­istry, Foren­sic Sci­ence, and Com­par­a­tive His­to­ry, a Visu­al Arts Man­age­ment text­book, and two Frick Col­lec­tion Fel­low­ships, break the sleuthing process down to five crit­i­cal steps:

1. Estab­lish prove­nance

Obso­lete tech­nol­o­gy has a place in the process too, in the form of a high­ly unre­li­able fax, alleged­ly sent in 1997. It pur­ports to be a pho­to­copy of a type­writ­ten let­ter from 1970, writ­ten by a gallery own­er who talked one of the artist’s for­mer girl­friends into part­ing with a num­ber of works after his death.

Unfor­tu­nate­ly for the painting’s cur­rent own­er, Piwowar­czyk and Tay­lor could find no proof that the gallery or its own­er ever exist­ed. The let­ter also botch­es Pollock’s death date and odd­ly, there’s a blank where the sender’s num­ber would nor­mal­ly be.

Due dili­gence reveals noth­ing resem­bling this paint­ing in the cat­a­logue raison­né of Pollock’s work.

2. Close up visu­al analy­sis

This can be accom­plished with tools as sim­ple as the flash­light and plas­tic caliper Tay­lor uses to exam­ine the sta­ple holes found at reg­u­lar inter­vals along the unsigned can­vas’ edges. In the 1940s, artists start­ed grav­i­tat­ing toward sta­ples over tacks as a method for secur­ing their can­vas­es to stretch­er bars, but would Pol­lock have done so? Like­ly not, to hear him tell it:

I hard­ly ever stretch my can­vas before paint­ing. I pre­fer to tack the unstretched can­vas to the hard wall or the floor. I need the resis­tance of a hard sur­face.

Piwowar­czyk and Tay­lor draw on their oth­er sens­es, too, when per­form­ing this in-depth visu­al inspec­tion. A deep sniff reveals that teabags were used to dis­col­or the can­vas, in hope of mak­ing it appear old­er than it is.

3. Pho­tog­ra­phy with a mul­ti­spec­tral imag­ing cam­era 

This camera’s abil­i­ty to see the Ultra-Vio­let spec­trum allows our foren­sic experts to spot restora­tions, under­draw­ing, and pen­ti­men­ti. Here, the cam­era revealed an under­ly­ing paint­ing whose geo­met­ric lay­out is unchar­ac­ter­is­tic of Pol­lock, as well as a sus­pi­cious­ly ama­teur­ish patch job on the back of the can­vas, anoth­er attempt to make the paint­ing appear old­er than it is.

4. Exam­i­na­tion with an X‑ray flu­o­res­cence spec­trom­e­ter

It looks like a cool Star Wars prop, and allows the exam­in­ers to iden­ti­fy ele­ments in the pig­ment. Here, our “Pol­lock” gets a pass. There’s tita­ni­um (as in Tita­ni­um White) in evi­dence, but that’s per­mis­si­ble for any­thing paint­ed from the 30s onward.

5. Mol­e­c­u­lar Imag­ing and Analy­sis by Raman Spec­troscopy

The forg­er might have got­ten away with it if it weren’t for those med­dling kids and their Raman Spec­tro­scope! The minus­cule sam­ples of paint Piwowar­czyk har­vests from the can­vas reveal all sorts of organ­ic debris that have no place in a Pol­lock, such as dry­wall dust and an acrylic that didn’t come into use ‘til the 1960s.

In con­clu­sion, exer­cise cau­tion and con­sult the experts before pur­chas­ing a high val­ue drip paint­ing this hol­i­day sea­son! Accord­ing to Piwowar­czyk, the fakes—over 100 and pre­sum­ably still counting—outstrip the num­ber of drip paint­ings Pol­lock cre­at­ed through­out his life­time.

Relat­ed Con­tent:

How an Art Con­ser­va­tor Com­plete­ly Restores a Dam­aged Paint­ing: A Short, Med­i­ta­tive Doc­u­men­tary

The Art of Restor­ing a 400-Year-Old Paint­ing: A Five-Minute Primer

How a Book Thief Forged a Rare Edi­tion of Galileo’s Sci­en­tif­ic Work, and Almost Pulled it Off

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC from Decem­ber 6 — 20 for the 10th anniver­sary pro­duc­tion of Greg Kotis’ apoc­a­lyp­tic hol­i­day tale, The Truth About San­ta, and the next month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Psilocybin Could Soon Be a Legal Treatment for Depression: Johns Hopkins Professor, Roland Griffiths, Explains How Psilocybin Can Relieve Suffering

Much of the recent sci­en­tif­ic research into psy­che­delics has picked up where researchers left off in the mid-20th cen­tu­ry, before LSD, psilo­cy­bin, and oth­er psy­choac­tive drugs became coun­ter­cul­tur­al means of con­scious­ness expan­sion, and then banned, ille­gal sub­stances the gov­ern­ment sought to con­trol. Sci­en­tists from sev­er­al fields stud­ied psy­che­delics as treat­ments for addic­tion, depres­sion, and anx­i­ety, and end-of-life care. These appli­ca­tions were con­ceived and test­ed sev­er­al decades ago.

Now, thanks to some seri­ous invest­ment from high-pro­file insti­tu­tions like Johns Hop­kins Uni­ver­si­ty, and thanks to chang­ing gov­ern­ment atti­tudes toward psy­choac­tive drugs, it may be pos­si­ble for psilo­cy­bin, the active ingre­di­ent in “mag­ic mush­rooms,” to get legal approval for ther­a­py in a clin­i­cal set­ting by 2021. “For the first time in U.S. his­to­ry,” Shel­by Hart­man reports at Rolling Stone, “a psy­che­del­ic drug is on the fast track to get­ting approved for treat­ing depres­sion by the fed­er­al gov­ern­ment.”

As Michael Pol­lan has detailed in his lat­est book, How to Change Your Mind, the pos­si­bil­i­ties for psilo­cy­bin and oth­er such drugs are vast. “But before the Food and Drug Admin­is­tra­tion can be peti­tioned to reclas­si­fy it,” Brit­tany Shoot notes at For­tune, the drug “first has to clear phase III clin­i­cal tri­als. The entire process is expect­ed to take about five years.” In the TEDMED video above, you can see Roland R. Grif­fiths, Pro­fes­sor of Psy­chi­a­try and Behav­ioral Sci­ences at Johns Hop­kins, dis­cuss the ways in which psilo­cy­bin, “under sup­port­ed con­di­tions, can occa­sion mys­ti­cal-type expe­ri­ences asso­ci­at­ed with endur­ing pos­i­tive changes in atti­tudes and behav­ior.”

The impli­ca­tions of this research span the fields of ethics and med­i­cine, psy­chol­o­gy and reli­gion, and it’s fit­ting that Dr. Grif­fiths leads off with a state­ment about the com­pat­i­bil­i­ty of spir­i­tu­al­i­ty and sci­ence, sup­port­ed by a quote from Ein­stein, who said “the most beau­ti­ful and pro­found emo­tion we can expe­ri­ence is the sen­sa­tion of the mys­ti­cal. It’s the source of all true sci­ence.” But the work Grif­fiths and oth­ers have been engaged in is pri­mar­i­ly prac­ti­cal in nature—though it does not at all exclude the mystical—like find­ing effec­tive means to treat depres­sion in can­cer patients, for exam­ple.

“Six­teen mil­lion Amer­i­cans suf­fer from depres­sion and approx­i­mate­ly one-third of them are treat­ment resis­tant,” Hart­man writes. “Depres­sion is also an epi­dem­ic world­wide, affect­ing 300 mil­lion peo­ple around the world.” Psy­chotrop­ic drugs like psilo­cy­bin, LSD, and MDMA (which is not clas­si­fied as a psy­che­del­ic), have been shown for a long time to work for many peo­ple suf­fer­ing from severe men­tal ill­ness and addic­tions.

Although such drugs present some poten­tial for abuse, they are not high­ly addic­tive, espe­cial­ly rel­a­tive to the flood of opi­oids on the legal mar­ket that are cur­rent­ly dev­as­tat­ing whole com­mu­ni­ties as peo­ple use them to self-med­icate. It seems that what has most pre­vent­ed psy­che­delics from being researched and pre­scribed has as much or more to do with long-stand­ing prej­u­dice and fear as it does with a gen­uine con­cern for pub­lic health. (And that’s not even to men­tion the finan­cial inter­ests who exert tremen­dous pres­sure on drug pol­i­cy.)

But now, Hart­man writes, “it appears [researchers] have come too far to go back—and the fed­er­al gov­ern­ment is final­ly rec­og­niz­ing it, too.” Find out why this research mat­ters in Dr. Grif­fiths’ talk, Pollan’s book, the Mul­ti­dis­ci­pli­nary Asso­ci­a­tion for Psy­che­del­ic Stud­ies, and some of the posts we’ve linked to below.

Relat­ed Con­tent:

How to Use Psy­che­del­ic Drugs to Improve Men­tal Health: Michael Pollan’s New Book, How to Change Your Mind, Makes the Case

New LSD Research Pro­vides the First Images of the Brain on Acid, and Hints at Its Poten­tial to Pro­mote Cre­ativ­i­ty

Artist Draws 9 Por­traits While on LSD: Inside the 1950s Exper­i­ments to Turn LSD into a “Cre­ativ­i­ty Pill”

When Aldous Hux­ley, Dying of Can­cer, Left This World Trip­ping on LSD, Expe­ri­enc­ing “the Most Serene, the Most Beau­ti­ful Death” (1963)

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

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