Women’s Hidden Contributions to Modern Genetics Get Revealed by New Study: No Longer Will They Be Buried in the Footnotes

It’s too easy, when our his­tor­i­cal knowl­edge is lim­it­ed, to mis­take effects for caus­es, to fall for just-so sto­ries that nat­u­ral­ize and per­pet­u­ate inequal­i­ty. Many of us may have only recent­ly learned, for exam­ple, that the moon land­ing would not have been pos­si­ble with­out math­e­mati­cian Kather­ine John­son and her Hid­den Fig­ures col­leagues, or that the Hub­ble tele­scope would not have been pos­si­ble with­out astronomer Nan­cy G. Roman (now immor­tal­ized in LEGO). Pri­or to this knowl­edge, we might have been led to believe that women had lit­tle to do with humankind’s first leaps into out­er space, to the sur­face of the moon, and beyond.

Cor­nell Uni­ver­si­ty his­to­ri­an of sci­ence Mar­garet Rossiter has called this phe­nom­e­non “the Matil­da effect,” after an 1893 essay by suf­frag­ist Matil­da Joslyn Gage. Rossiter spent years try­ing to counter the dom­i­nant nar­ra­tives that leave out women in sci­ence with a mul­ti-vol­ume schol­ar­ly his­to­ry. Counter-nar­ra­tives like hers now appear reg­u­lar­ly online. And pop­u­lar media like the book, then film, Hid­den Fig­ures have inspired oth­er aca­d­e­mics to drill into the his­to­ry of their fields, find the women who have been ignored, and try to under­stand the how and why.

When Brown University’s Emil­ia Huer­ta-Sánchez and San Fran­cis­co State University’s Rori Rohlfs saw Hid­den Fig­ures, they decid­ed to research their spe­cial­iza­tion, the­o­ret­i­cal pop­u­la­tion genet­ics. It may not be as glam­orous as space trav­el, and their research may not become a Hol­ly­wood film or LEGO set, but the results they unearthed are rev­e­la­to­ry and impor­tant. Dur­ing the 1970s, for exam­ple, “a piv­otal time for the field of pop­u­la­tion genet­ics,” notes Ed Yong at The Atlantic, the two researchers and their team of under­grad­u­ates found that “women account­ed for 59 per­cent of acknowl­edged pro­gram­mers, but just 7 per­cent of actu­al authors.”

Those women were sci­en­tists doing “cru­cial work,” writes Yong. One pro­gram­mer, Mar­garet Wu, cre­at­ed a sta­tis­ti­cal tool still reg­u­lar­ly used to cal­cu­late opti­mal genet­ic diver­si­ty. Her mod­el appeared in a 1975 paper and is now known as the Wat­ter­son esti­ma­tor, after the “one and only” named author, G.A. Wat­ter­son. “The paper has been cit­ed 3,400 times.” Today, “if a sci­en­tist did all the pro­gram­ming for a study, she would expect to be list­ed as an author.” But the prac­tice only began to change in the 1980s, when “pro­gram­ming began chang­ing from a ‘pink col­lar’ job, done large­ly by low-paid women, to the male-dom­i­nat­ed pro­fes­sion it remains today.”

The mar­gin­al­iza­tion of female pro­gram­mers dur­ing some of the field’s most pro­duc­tive years—their rel­e­ga­tion to lit­er­al foot­notes in history—has cre­at­ed the impres­sion, as Huer­ta- Sánchez, Rohlfs, and their co-authors write, that “this research was con­duct­ed by a rel­a­tive­ly small num­ber of inde­pen­dent indi­vid­ual sci­en­tists near­ly all of whom were men.” See a sum­ma­ry of the authors’ find­ings in the video above. To obtain their results, they combed through every issue of the jour­nal The­o­ret­i­cal Pop­u­la­tion Biol­o­gy—near­ly 900 papers—then pulled out “every name in the acknowl­edg­ments, worked out whether they did any pro­gram­ming, and deduced their gen­ders where pos­si­ble.”

The study, pub­lished in the lat­est issue of Genet­ics does not com­pre­hen­sive­ly sur­vey the entire field, nor does it defin­i­tive­ly show that every pro­gram­mer who con­tributed to a paper did so sub­stan­tive­ly enough to war­rant author­ship. But it does not need to do these things. The dis­par­i­ties between named authors and mar­gin­al­ly acknowl­edged sci­en­tif­ic labor­ers in a major jour­nal in the field calls for an expla­na­tion beyond selec­tion bias or chance. The expla­na­tion of sys­temic bias not only has the ben­e­fit of being well-sup­port­ed by a huge aggre­gate of data across the sci­ences, but it also presents us with a sit­u­a­tion that can be changed when the prob­lems are wide­ly seen and acknowl­edged.

The study’s results “dis­pel the mis­con­cep­tion that women weren’t par­tic­i­pat­ing in sci­ence,” the researchers point out in their video, and they sug­gest that a sig­nif­i­cant num­ber of women in genet­ics weren’t giv­en the cred­it they deserved. Huer­ta- Sánchez and Rohlfs walk their talk. The under­grad­u­ate researchers who worked on “Illu­mi­nat­ing Wom­en’s Hid­den Con­tri­bu­tion to His­tor­i­cal The­o­ret­i­cal Pop­u­la­tion Genet­ics” are all named as authors in the paper, so that their con­tri­bu­tions to writ­ing a new his­to­ry of their field can be rec­og­nized.

via The Atlantic

Relat­ed Con­tent:

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

The Ency­clo­pe­dia of Women Philoso­phers: A New Web Site Presents the Con­tri­bu­tions of Women Philoso­phers, from Ancient to Mod­ern

Hen­ri­et­ta Lacks Gets Immor­tal­ized in a Por­trait: It’s Now on Dis­play at the Nation­al Por­trait Gallery

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

Historic Manuscript Filled with Beautiful Illustrations of Cuban Flowers & Plants Is Now Online (1826 )

The inter­net has become an essen­tial back up sys­tem for thou­sands of pieces of his­tor­i­cal art, sci­ence, and lit­er­a­ture, and also for a spe­cial­ized kind of text incor­po­rat­ing them all in degrees: the illus­trat­ed nat­ur­al sci­ence book, from the gold­en ages of book illus­tra­tion and philo­soph­i­cal nat­u­ral­ism in Europe and the Amer­i­c­as. We’ve seen some fine dig­i­tal repro­duc­tions of the illus­trat­ed Nomen­cla­ture of Col­ors by Abra­ham Got­t­lob Wern­er, for example—a book that accom­pa­nied Dar­win on his Bea­gle voy­age.

The same source has also brought us a won­der­ful­ly illus­trat­ed, influ­en­tial 1847 edi­tion of Euclid’s Ele­ments, with a sem­a­phore-like design that col­or-codes and delin­eates each axiom. And we’ve seen Emi­ly Noyes Vanderpoel’s 1903 Col­or Prob­lems: a Prac­ti­cal Man­u­al for the Lay Stu­dent of Col­or come online (and back in print), a study whose ideas would lat­er show up in the work of mod­ern min­i­mal­ists like Josef Albers.

Above and below, you can see just a frac­tion of the illus­tra­tions from anoth­er exam­ple of a remark­able illus­trat­ed sci­en­tif­ic book, also by a woman on the edge of being for­got­ten: Nan­cy Anne Kings­bury Woll­stonecraft’s 1826 Spec­i­mens of the Plants and Fruits of the Island of Cuba.

This study of Cuban plant life might nev­er have seen the light of day were it not for the new online edi­tion from the HathiTrust dig­i­tal library, “by way of Cor­nell University’s Library Divi­sion of Rare and Man­u­script Col­lec­tions,” notes Atlas Obscu­ra. The book is notable for more than its obscu­ri­ty, how­ev­er. It is, says schol­ar of Cuban his­to­ry and cul­ture Emilio Cue­to, “the most impor­tant cor­pus of plant illus­tra­tions in Cuba’s colo­nial his­to­ry.” Its author first began work when she moved to the island after her hus­band, Charles Woll­stonecraft (broth­er of Mary and uncle of Mary Shel­ley) died in 1817.

She began doc­u­ment­ing the plant life in the region of Matan­zas through the 1820s. That research became Spec­i­mens of the Plants and Fruits of the Island of Cuba, a metic­u­lous study, full of Wollstonecraft’s vibrant, strik­ing water­col­ors. After mak­ing sev­er­al attempts at pub­li­ca­tion, she died in 1828, and the man­u­script nev­er appeared in pub­lic. Now, almost two cen­turies lat­er, all three vol­umes are avail­able to read online and down­load in PDF. They had been dor­mant at the Cor­nell Uni­ver­si­ty Library, and few peo­ple knew very much about them. Cue­to, the schol­ar most famil­iar with the man­u­scrip­t’s place in his­to­ry, had him­self searched for it for 20 years before find­ing it hid­den away at Cor­nell in 2018.

Now it is freely avail­able to any­one and every­one online, part of an expand­ing, shared online archive of fas­ci­nat­ing works by non-pro­fes­sion­al sci­en­tists and math­e­mati­cians whose work was painstak­ing­ly inter­pret­ed by artists for the ben­e­fit of a lay read­er­ship. In the case of Woll­stonecraft, as with Goethe and many oth­er con­tem­po­rary schol­ar-artists, we have the two in one. View and down­load her 220-page work, with its 121 illus­trat­ed plates at the HathiTrust Dig­i­tal Library.

via Cor­nell/Atlas Obscu­ra

Relat­ed Con­tent:

A Vision­ary 115-Year-Old Col­or The­o­ry Man­u­al Returns to Print: Emi­ly Noyes Vanderpoel’s Col­or Prob­lems

Explore an Inter­ac­tive Ver­sion of The Wall of Birds, a 2,500 Square-Foot Mur­al That Doc­u­ments the Evo­lu­tion of Birds Over 375 Mil­lion Years

Two Mil­lion Won­drous Nature Illus­tra­tions Put Online by The Bio­di­ver­si­ty Her­itage Library

Wagashi: Peruse a Dig­i­tized, Cen­turies-Old Cat­a­logue of Tra­di­tion­al Japan­ese Can­dies

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

Explore an Interactive Version of The Wall of Birds, a 2,500 Square-Foot Mural That Documents the Evolution of Birds Over 375 Million Years

Now, this avian Vat­i­can also has its own Michelan­ge­lo.

Audubon Mag­a­zine

And the Class of Aves has its very own avian Pan­tone chart, cre­at­ed by sci­ence illus­tra­tor Jane Kim in ser­vice of her 2,500 square-foot Wall of Birds mur­al at Cor­nell University’s Lab of Ornithol­o­gy.

The cus­tom chart’s fifty-one col­ors com­prise about 90 per­cent of the fin­ished work. A palette of thir­teen Gold­en Flu­id Acrylics sup­plied the jew­el-toned accents so thrilling to bird­watch­ers.

Along the way, Kim absorbed a tremen­dous amount of infor­ma­tion about the how and why of bird feath­er col­oration:

The iri­des­cence on the neck and back of the Superb Star­ling comes not from pig­ment,

but from struc­tur­al col­or. The starling’s out­er feath­ers are con­struct­ed in a way

that refracts light like myr­i­ad prisms, mak­ing the bird appear to shim­mer. The epony­mous

col­or­ing of the Lilac-breast­ed Roller results from a dif­fer­ent kind of struc­tur­al

col­or, cre­at­ed when woven microstruc­tures in the feath­ers, called barbs and bar­bules,

reflect only the short­er wave­lengths of light like blue and vio­let.

The pri­ma­ry col­ors that lend their name to the Red-and-yel­low Bar­bet are

derived from a class of pig­ments called carotenoids that the bird absorbs in its diet.

These are the same com­pounds that turn flamin­gos’ feath­ers pink. As a mem­ber of

the fam­i­ly Musophagi­dae, the Hartlaub’s Tura­co dis­plays pig­men­ta­tion unique in the

bird world. Birds have no green pig­men­ta­tion; in most cas­es, ver­dant plumage is a

com­bi­na­tion of yel­low carotenoids and blue struc­tur­al col­or. Tura­cos are an excep­tion,

dis­play­ing a green, cop­per-based pig­ment called tura­coverdin that they absorb

in their her­biv­o­rous diet. The flash of red on the Hartlaub’s under­wings comes from

turacin, anoth­er cop­per-based pig­ment unique to the fam­i­ly.

 

Kim also boned up on her sub­jects’ mat­ing rit­u­als, dietary habits, song styles, and male/female dif­fer­ences pri­or to inscrib­ing the 270 life-size, life­like birds onto the lab’s largest wall.

She exam­ined spec­i­mens from the cen­ter’s col­lec­tion and reviewed cen­turies’ worth of field obser­va­tions.

(The sev­en­teenth-cen­tu­ry Eng­lish nat­u­ral­ist John Ray dis­missed the horn­bill fam­i­ly as hav­ing a “foul look,” a colo­nial­ism that ruf­fled Kim’s own feath­ers some­what. In retal­i­a­tion, she dubbed the Great Horn­bill, “the Cyra­no of the Jun­gle” owing to his “tequi­la-sun­rise-hued facial phal­lus,” and select­ed him as the cov­er boy for her book about the mur­al.)

Research and pre­lim­i­nary sketch­ing con­sumed an entire year, after which it took 17 months to inscribe 270 life-size creatures—some long extinct—onto the lab’s main wall. The birds are set against a greyscale map of the world, and while many are depict­ed in flight, every one save the Wan­der­ing Alba­tross has a foot touch­ing its con­ti­nent of ori­gin.

Those who can’t vis­it the Wall of Birds (offi­cial title: From So Sim­ple a Begin­ning) in per­son, can log some dig­i­tal bird­watch­ing using a spec­tac­u­lar inter­ac­tive web-based ver­sion of the mur­al that pro­vides plen­ty of infor­ma­tion about each spec­i­men, some of it lit­er­ary. (The afore­men­tioned Alba­tross’ entry con­tains a pass­ing ref­er­ence to The Rime of the Ancient Mariner.)

Explore the Wall of Birds’ inter­ac­tive fea­tures here.

You can down­load a free chap­ter of The Wall of Birds: One Plan­et, 243 Fam­i­lies, 375 Mil­lion Years by sub­scrib­ing to Kim’s mail­ing list here.

Via Hyper­al­ler­gic

Relat­ed Con­tent:

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

What Kind of Bird Is That?: A Free App From Cor­nell Will Give You the Answer

Mod­ernist Bird­hous­es Inspired by Bauhaus, Frank Lloyd Wright and Joseph Eich­ler

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  See her onstage in New York City Feb­ru­ary 11 for The­ater of the Apes book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

The Strange Dancing Plague of 1518: When Hundreds of People in France Could Not Stop Dancing for Months

If you find your­self think­ing you aren’t a vic­tim of fash­ion, maybe take anoth­er look. Yes, we can con­scious­ly train our­selves to resist trends through force of habit. We can declare our pref­er­ences and stand on prin­ci­ple. But we aren’t con­scious­ly aware of what’s hap­pen­ing in the hid­den turn­ings of our brains. Maybe what we call the uncon­scious has more con­trol over us than we would like to think.

Inex­plic­a­ble episodes of mass obses­sion and com­pul­sion serve as dis­qui­et­ing exam­ples. Mass pan­ics and delu­sions tend to occur, argues author John Waller, “in peo­ple who are under extreme psy­cho­log­i­cal dis­tress, and who believe in the pos­si­bil­i­ty of spir­it pos­ses­sion. All of these con­di­tions were sat­is­fied in Stras­bourg in 1518,” the year the Danc­ing Plague came to the town in Alsace—an invol­un­tary com­mu­nal dance fes­ti­val with dead­ly out­comes.

The event began with one per­son, as you’ll learn in the almost jaun­ty ani­mat­ed BBC video below, a woman known as Frau Trof­fea. One day she began danc­ing in the street. Peo­ple came out of their hous­es and gawked, laughed, and clapped. Then she didn’t stop. She “con­tin­ued to dance, with­out rest­ing, morn­ing, after­noon, and night for six whole days.” Then her neigh­bors joined in. With­in a month, 400 peo­ple were “danc­ing relent­less­ly with­out music or song.”

We might expect that town lead­ers in this late-Medieval peri­od would have declared it a mass pos­ses­sion event and com­menced with exor­cisms or witch burn­ings. Instead, it was said to be a nat­ur­al phe­nom­e­non. Draw­ing on humoral the­o­ry, “local physi­cians blamed it on ‘hot blood,’” History.com’s Evan Andrews writes. They “sug­gest­ed the afflict­ed sim­ply gyrate the fever away. A stage was con­struct­ed and pro­fes­sion­al dancers were brought in. The town even hired a band to pro­vide back­ing music.”

Soon, how­ev­er, bloody and exhaust­ed, peo­ple began dying from strokes and heart attacks. The danc­ing went on for months. It was not a fad. No one was enjoy­ing them­selves. On the con­trary, Waller writes, “con­tem­po­raries were cer­tain that the afflict­ed did not want to dance and the dancers them­selves, when they could, expressed their mis­ery and need for help.” This con­tra­dicts sug­ges­tions they were will­ing mem­bers of a cult, and paints an even dark­er pic­ture of the event.

Cer­tain psy­cho­nauts might see in the 1518 Danc­ing Plague a shared uncon­scious, work­ing some­thing out while drag­ging the poor Stras­bour­gians along behind it. Oth­er, more or less plau­si­ble expla­na­tions have includ­ed ergo­tism, or poi­son­ing “from a psy­chotrop­ic mould that grows on stalks of rye.” How­ev­er, Waller points out, ergot “typ­i­cal­ly cuts off blood sup­ply to the extrem­i­ties mak­ing coor­di­nat­ed move­ment very dif­fi­cult.”

He sug­gests the danc­ing mania came about through the meet­ing of two pri­or con­di­tions: “The city’s poor were suf­fer­ing from severe famine and dis­ease,” and many peo­ple in the region believed they could obtain good health by danc­ing before a stat­ue of Saint Vitus. They also believed, he writes, that “St. Vitus… had the pow­er to take over their minds and inflict a ter­ri­ble, com­pul­sive dance. Once these high­ly vul­ner­a­ble peo­ple began to antic­i­pate the St. Vitus curse they increased the like­li­hood that they’d enter the trance state.”

The mys­tery can­not be defin­i­tive­ly solved, but it does seem that what Waller calls “fer­vent super­nat­u­ral­ism” played a key role, as it has in many mass hys­te­rias, includ­ing “ten such con­ta­gions which had bro­ken out along the Rhine and Moselle rivers since 1374,” as the Pub­lic Domain Review notes. Fur­ther up, see a 1642 engrav­ing based on a 1564 draw­ing by Peter Breughel of anoth­er danc­ing epi­dem­ic which occurred that year in Molen­beek. The 17th cen­tu­ry Ger­man engrav­ing above of a danc­ing epi­dem­ic in a church­yard fea­tures a man hold­ing a sev­ered arm.

We see mass pan­ics and delu­sions around the world, for rea­sons that are rarely clear to schol­ars, psy­chi­a­trists, his­to­ri­ans, anthro­pol­o­gists, and physi­cians dur­ing or after the fact. What is med­ical­ly known as Saint Vitus dance, or Sydenham’s Chorea, has rec­og­nized phys­i­cal caus­es like rheumat­ic fever and occurs in a spe­cif­ic sub­set of the pop­u­la­tion. The his­tor­i­cal Saint Vitus Dance, or Danc­ing Plague, how­ev­er, affect­ed peo­ple indis­crim­i­nate­ly and seems to have been a phe­nom­e­non of mass sug­ges­tion, like many oth­er social-psy­cho­log­i­cal events around the world.

Episodes of epi­dem­ic manias relat­ed to out­mod­ed super­nat­ur­al beliefs can seem espe­cial­ly bizarre, but the mass psy­chol­o­gy of 21st cen­tu­ry west­ern cul­ture includes many episodes of social con­ta­gion and com­pul­sion no less strange, and per­haps no less wide­spread or dead­ly, espe­cial­ly dur­ing times of extreme stress.

via Pub­lic Domain Review

Relat­ed Con­tent:

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

Behold the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

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

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…

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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

by | Permalink | Make a Comment ( 2 ) |

« Go BackMore in this category... »
Quantcast