The Spellbinding Art of Human Anatomy: From the Renaissance to Our Modern Times

Many of us have a fraught rela­tion­ship with what med­ical illus­tra­tor Vanes­sa Ruiz, above, refers to as our anatom­i­cal selves.

You may have received the Vis­i­ble Man for your 8th birth­day, only to for­get, some thir­ty years lat­er, what your spleen looks like, where it’s locat­ed and what it does.

We know more about the inner work­ings of our appli­ances than we do our own bod­ies. Why? Large­ly because we saved the man­u­al that came with our dish­wash­er, and refer to it when our glass­ware is cov­ered in spots.

As Ruiz not­ed in her TED-Med talk last Novem­ber, there’s a wealth of eas­i­ly acces­si­ble detailed anatom­i­cal illus­tra­tions, but we tend to keep them out of sight, and thus out of mind. Once a stu­dent is fin­ished with his or her med­ical text­book or app, he or she rarely seeks those pic­tures out again. Those of us out­side the med­ical pro­fes­sion have spent very lit­tle time con­sid­er­ing the way our bod­i­ly sys­tems are put togeth­er.

This lack of engage­ment prompt­ed Ruiz to found the aggre­gate blog Street Anato­my, devot­ed to fer­ret­ing out the inter­sec­tion between anatom­i­cal illus­tra­tion and pub­lic art. Expo­sure is key. In cre­at­ing star­tling, body-based images—and what is more star­tling than a flayed human or piece thereof?—the artist reminds view­ers of what lurks beneath their own skin.

Ruiz is deeply inter­est­ed in the his­to­ry of her craft, a prac­tice which can be dat­ed to Renais­sance man Leonar­do da Vin­ci. She sees beau­ty in bizarre ear­ly exam­ples which insert­ed sev­ered limbs into still lives and posed semi-dis­sect­ed cadav­ers next to pop­u­lar attrac­tions, such as Clara, the tour­ing rhi­no.

These days, the sub­jects of those pur­pose­ful illus­tra­tions are more like­ly to be ren­dered as 3‑D com­put­er-gen­er­at­ed ani­ma­tions.

The more old school approach is vis­i­ble in the work of the artists Ruiz cham­pi­ons, such as Fer­nan­do Vicente, who couch­es 19th-cen­tu­ry male anatom­i­cal plates inside more con­tem­po­rary female pin-ups and fash­ion illus­tra­tions.

Artist Jason Free­ny gives Bar­bie, Legos, and Mario the Vis­i­ble Man treat­ment.

Noah Scalin, who spent 2007 cre­at­ing a skull a day, made a gut-filled gun and titled it “Anato­my of War.”

But let us not pre­sume all view­ers are in total igno­rance of their bod­ies’ work­ings. A woman whose ankle had been smashed in a roller skat­ing acci­dent com­mis­sioned archi­tect Fed­eri­co Car­ba­jal to doc­u­ment its recon­struc­tion with one of his anatom­i­cal­ly accu­rate wire sculp­tures. Car­ba­jal incor­po­rat­ed his bene­fac­tor’s sur­gi­cal screws.

Check out Ruiz’s rec­om­mend­ed read­ing list to delve into the sub­ject more deeply.

Relat­ed Con­tent:

Down­load the Sub­lime Anato­my Draw­ings of Leonar­do da Vin­ci: Avail­able Online, or in a Great iPad App

The Anatom­i­cal Draw­ings of Renais­sance Man, Leonar­do da Vin­ci

Micro­scop­ic Bat­tle­field: Watch as a Killer T Cell Attacks a Can­cer Cell

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her lat­est script, Fawn­book, is avail­able in a dig­i­tal edi­tion from Indie The­ater Now.  Fol­low her @AyunHalliday.

The Secret Link Between Jazz and Physics: How Einstein & Coltrane Shared Improvisation and Intuition in Common

Sci­en­tists need hob­bies. The gru­el­ing work of nav­i­gat­ing com­plex the­o­ry and the pol­i­tics of acad­e­mia can get to a per­son, even one as laid back as Dart­mouth pro­fes­sor and astro­physi­cist Stephon Alexan­der. So Alexan­der plays the sax­o­phone, though at this point it may not be accu­rate to call his avo­ca­tion a spare time pur­suit, since John Coltrane has become as impor­tant to him as Ein­stein, Kepler, and New­ton.

Coltrane, he says in a 7‑minute TED talk above, “changed my whole research direc­tion… led to basi­cal­ly a dis­cov­ery in physics.” Alexan­der then pro­ceeds to play the famil­iar open­ing bars of “Giant Steps.” He’s no Coltrane, but he is a very cre­ative thinker whose love of jazz has giv­en him a unique per­spec­tive on the­o­ret­i­cal physics, one he shares, it turns out, with both Ein­stein and Coltrane, both of whom saw music and physics as intu­itive, impro­visato­ry pur­suits.

Alexan­der describes his jazz epiphany as occa­sioned by a com­plex dia­gram Coltrane gave leg­endary jazz musi­cian and Uni­ver­si­ty of Mass­a­chu­setts pro­fes­sor Yusef Lateef in 1967. “I thought the dia­gram was relat­ed to anoth­er and seem­ing­ly unre­lat­ed field of study—quantum grav­i­ty,” he writes in a Busi­ness Insid­er essay on his dis­cov­ery, “What I had real­ized… was that the same geo­met­ric prin­ci­ple that moti­vat­ed Einstein’s the­o­ry was reflect­ed in Coltrane’s dia­gram.”

The the­o­ry might “imme­di­ate­ly sound like untestable pop-phi­los­o­phy,” writes the Cre­ators Project, who show­case Alexander’s physics-inspired musi­cal col­lab­o­ra­tion with exper­i­men­tal pro­duc­er Rioux (sam­ple below). But his ideas are much more sub­stan­tive, “a com­pelling cross-dis­ci­pli­nary inves­ti­ga­tion,” recent­ly pub­lished in a book titled The Jazz of Physics: The Secret Link Between Music and the Struc­ture of the Uni­verse.

Alexan­der describes the links between jazz and physics in his TED talk, as well as in the brief Wired video fur­ther up. “One con­nec­tion,” he says, is “the mys­te­ri­ous way that quan­tum par­ti­cles move.… Accord­ing to the rules of quan­tum mechan­ics,” they “will actu­al­ly tra­verse all pos­si­ble paths.” This, Alexan­der says, par­al­lels the way jazz musi­cians impro­vise, play­ing with all pos­si­ble notes in a scale. His own impro­vi­sa­tion­al play­ing, he says, is great­ly enhanced by think­ing about physics. And in this, he’s only fol­low­ing in the giant steps of both of his idols.

It turns out that Coltrane him­self used Einstein’s the­o­ret­i­cal physics to inform his under­stand­ing of jazz com­po­si­tion. As Ben Ratliff reports in Coltrane: The Sto­ry of a Sound, the bril­liant sax­o­phon­ist once deliv­ered to French horn play­er David Amram an “incred­i­ble dis­course about the sym­me­try of the solar sys­tem, talk­ing about black holes in space, and con­stel­la­tions, and the whole struc­ture of the solar sys­tem, and how Ein­stein was able to reduce all of that com­plex­i­ty into some­thing very sim­ple.” Says Amram:

Then he explained to me that he was try­ing to do some­thing like that in music, some­thing that came from nat­ur­al sources, the tra­di­tions of the blues and jazz. But there was a whole dif­fer­ent way of look­ing at what was nat­ur­al in music.

This may all sound rather vague and mys­te­ri­ous, but Alexan­der assures us Coltrane’s method is very much like Einstein’s in a way: “Ein­stein is famous for what is per­haps his great­est gift: the abil­i­ty to tran­scend math­e­mat­i­cal lim­i­ta­tions with phys­i­cal intu­ition. He would impro­vise using what he called gedanken­ex­per­i­ments (Ger­man for thought exper­i­ments), which pro­vid­ed him with a men­tal pic­ture of the out­come of exper­i­ments no one could per­form.”

Ein­stein was also a musi­cian—as we’ve not­ed before—who played the vio­lin and piano and whose admi­ra­tion for Mozart inspired his the­o­ret­i­cal work. “Ein­stein used math­e­mat­i­cal rig­or,” writes Alexan­der, as much as he used “cre­ativ­i­ty and intu­ition. He was an impro­vis­er at heart, just like his hero, Mozart.” Alexan­der has fol­lowed suit, see­ing in the 1967 “Coltrane Man­dala” the idea that “impro­vi­sa­tion is a char­ac­ter­is­tic of both music and physics.” Coltrane “was a musi­cal inno­va­tor, with physics at his fin­ger­tips,” and “Ein­stein was an inno­va­tor in physics, with music at his fin­ger­tips.”

Alexan­der gets into a few more specifics in his longer TEDx talk above, begin­ning with some per­son­al back­ground on how he first came to under­stand physics as an intu­itive dis­ci­pline close­ly linked with music. For the real meat of his argu­ment, you’ll like­ly want to read his book, high­ly praised by Nobel-win­ning physi­cist Leon Coop­er, futur­is­tic com­pos­er Bri­an Eno, and many more bril­liant minds in both music and sci­ence.

Relat­ed Con­tent:

Free Online Physics Cours­es

The Musi­cal Mind of Albert Ein­stein: Great Physi­cist, Ama­teur Vio­lin­ist and Devo­tee of Mozart

CERN’s Cos­mic Piano and Jazz Pianist Jam Togeth­er at The Mon­treux Jazz Fes­ti­val

Bohemi­an Grav­i­ty: String The­o­ry Explored With an A Cap­pel­la Ver­sion of Bohemi­an Rhap­sody

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

Daily Meditation Boosts & Revitalizes the Brain and Reduces Stress, Harvard Study Finds

I don’t mean to sound dra­mat­ic, but med­i­ta­tion may have saved my life. Dur­ing a par­tic­u­lar­ly chal­leng­ing time of over­work, under­pay, and seri­ous fam­i­ly dis­tress, I found myself at dan­ger­ous, near-stroke lev­els of high cho­les­terol and blood pres­sure, and the begin­nings of near-crip­pling ear­ly-onset arthri­tis. My doc­tors were alarmed. Some­thing had to change. Unable to make stress­ful out­er cir­cum­stances dis­ap­pear, I had to find con­struc­tive ways to man­age my respons­es to them instead. Yoga and med­i­ta­tion made the dif­fer­ence.

I’m hard­ly alone in this jour­ney. The lead­ing cause of death in the U.S. is heart dis­ease, fol­lowed close­ly by stroke, dia­betes, and depres­sion lead­ing to suicide—all con­di­tions exac­er­bat­ed by high lev­els of stress and anx­i­ety. In my own case, a changed diet and dai­ly exer­cise played a cru­cial role in my phys­i­cal recov­ery, but those dis­ci­plines would not even have been pos­si­ble to adopt were it not for the calm­ing, cen­ter­ing effects of a dai­ly med­i­ta­tion prac­tice.

Anec­dotes, how­ev­er, are not evi­dence. We are bom­bard­ed with claims about the mir­a­cle mag­ic of “mind­ful­ness,” a word that comes from Bud­dhism and describes a kind of med­i­ta­tion that focus­es on the breath and body sen­sa­tions as anchors for present-moment aware­ness. Some form of “mind­ful­ness based stress reduc­tion” has entered near­ly every kind of ther­a­py, reha­bil­i­ta­tion, cor­po­rate train­ing, and pain man­age­ment, and the word has been a mar­ket­ing totem for at least a sol­id decade now. No one ever needs to men­tion the B‑word in all this med­i­ta­tion talk. As one med­i­ta­tion teacher tells his begin­ner stu­dents, “Bud­dhism can­not exist with­out mind­ful­ness, but mind­ful­ness can exist per­fect­ly well with­out Bud­dhism.”

So, no need to believe in rein­car­na­tion, renun­ci­a­tion, or high­er states of con­scious­ness, fine. But does med­i­ta­tion real­ly change your brain? Yes. Aca­d­e­m­ic researchers have con­duct­ed dozens of stud­ies on how the prac­tice works, and have near­ly all con­clud­ed that it does. “There’s more than an arti­cle a day on the sub­ject in peer-reviewed jour­nals,” says Uni­ver­si­ty of Toron­to psy­chi­a­trist Steven Selchen, “The research is vast now.” One research team at Har­vard, led by Har­vard Med­ical School psy­chol­o­gy instruc­tor Sara Lazar, pub­lished a study in 2011 that shows how mind­ful­ness med­i­ta­tion results in phys­i­cal changes to the brain.

The paper details the results of MRI scans from 16 sub­jects “before and after they took part in the eight-week Mind­ful­ness-Based Stress Reduc­tion (MBSR) Pro­gram at the Uni­ver­si­ty of Mass­a­chu­setts Cen­ter for Mind­ful­ness,” reports the Har­vard Gazette. Each of the par­tic­i­pants spent “an aver­age of 27 min­utes each day prac­tic­ing mind­ful­ness exer­cis­es.” After the pro­gram, they report­ed sig­nif­i­cant stress reduc­tion on a ques­tion­naire, and analy­sis of their MRIs “found increased gray-mat­ter den­si­ty in the hip­pocam­pus, known to be impor­tant for learn­ing and mem­o­ry, and in struc­tures asso­ci­at­ed with self-aware­ness, com­pas­sion, and intro­spec­tion.”

The Har­vard Busi­ness Review points to a anoth­er sur­vey study in which sci­en­tists from the Uni­ver­si­ty of British Colum­bia and the Chem­nitz Uni­ver­si­ty of Tech­nol­o­gy “were able to pool data from more than 20 stud­ies to deter­mine which areas of the brain are con­sis­tent­ly affect­ed. They iden­ti­fied at least eight dif­fer­ent regions.” High­light­ing two areas “of par­tic­u­lar con­cern to busi­ness pro­fes­sion­als,” the HBR describes changes to the ante­ri­or cin­gu­late cor­tex (ACC), an area of the frontal lobe asso­ci­at­ed with self-reg­u­la­tion, learn­ing, and deci­sion-mak­ing. The ACC “may be par­tic­u­lar­ly impor­tant in the face of uncer­tain and fast-chang­ing con­di­tions.” Like Lazar’s Har­vard study, the researchers also iden­ti­fied “increased amounts of gray mat­ter” in the hip­pocam­pus, an area high­ly sub­ject to dam­age from chron­ic stress.

These stud­ies and many oth­ers bring mind­ful­ness togeth­er with anoth­er cur­rent psy­cho­log­i­cal buzz­word that has proven to be true: neu­ro­plas­tic­i­ty, the idea that we can change our brains for the better—that we are not “hard­wired” to repeat pat­terns of behav­ior despite our best efforts. In the TEDx Cam­bridge talk at the top of the post, Lazar explains her results, and con­nects them with her own expe­ri­ences with med­i­ta­tion. She is, you’ll see right away, a skep­tic, not inclined to accept med­ical claims prof­fered by yoga and med­i­ta­tion teach­ers. But she found that those prac­tices worked in her own life, and also had “sci­en­tif­i­cal­ly val­i­dat­ed ben­e­fits” in reduc­ing stress, depres­sion, anx­i­ety, and phys­i­cal pain. In oth­er words, they work.

None of the research inval­i­dates the Bud­dhist and Hin­du tra­di­tions from which yoga and med­i­ta­tion come, but it does show that one needn’t adopt any par­tic­u­lar belief sys­tem in order to reap the health ben­e­fits of the prac­tices. For some sec­u­lar intro­duc­tions to med­i­ta­tion, you may wish to try UCLA’s free guid­ed med­i­ta­tion ses­sions or check out the Med­i­ta­tion 101 ani­mat­ed beginner’s guide above. If you’re not too put off by the occa­sion­al Bud­dhist ref­er­ence, I would also high­ly rec­om­mend the Insight Med­i­ta­tion Center’s free six-part intro­duc­tion to mind­ful­ness med­i­ta­tion. Chron­ic stress is lit­er­al­ly killing us. We have it in our pow­er to change the way we respond to cir­cum­stances, change the phys­i­cal struc­ture of our brains, and become hap­pi­er and health­i­er as a result.

Relat­ed Con­tent:

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

Med­i­ta­tion 101: A Short, Ani­mat­ed Beginner’s Guide

David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty

Alan Watts Intro­duces Amer­i­ca to Med­i­ta­tion & East­ern Phi­los­o­phy: Watch the 1960 TV Show, East­ern Wis­dom and Mod­ern Life

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

How to Sound Smart in a TED Talk: A Funny Primer by Saturday Night Live’s Will Stephen

Is there any sub­ject that can’t be cov­ered in a TED Talk?

Appar­ent­ly not. You can make a TED Talk about any­thing, even noth­ing, as vet­er­an impro­vis­er and rook­ie Sat­ur­day Night Live writer, Will Stephen, demon­strat­ed at a recent TEDx event in New York City.

What you shouldn’t do is devi­ate from TED’s estab­lished pre­sen­ta­tion tropes. Stephen may be punk­ing us with his How to Sound Smart in Your TEDx Talk, above, but aspi­rant TED speak­ers should take notes. One can’t prac­tice obser­va­tion­al humor with­out being a keen observ­er. Stephen’s insights are as good a play­book as any for that unmis­take­able TED-style deliv­ery:

Use your hands.

Engage the audi­ence by ask­ing them a ques­tion that will result in a show of hands…

By show of hands, how many of you have been asked a ques­tion before?

Hit ‘em with an endear­ing, per­son­al anec­dote.

Pro­jec­tions will enhance your cred­i­bil­i­ty.

Replay the clip with the sound down, as Stephen sug­gests, and it’s still obvi­ous what he’s doing — giv­ing a TED Talk.  (The famil­iar cam­era work and edit­ing don’t hurt either.)

Even if you’re not plan­ning on nom­i­nat­ing your­self to become a TED speak­er in the near future, Stephen’s les­son should prove handy next time you’re called upon to do some pub­lic speak­ing, whether run­ning for Pres­i­dent or deliv­er­ing the toast at your best friend’s wed­ding.

And noth­ing is cer­tain­ly not the only top­ic of sub­stance upon which Stephen can dis­course. Wit­ness his Tin­der Strat­e­gy Pow­er­point.

Hmm, maybe there are some TED-proof sub­jects  after all…

via Boing­Bo­ing

Relat­ed Con­tent:

Ben­jamin Brat­ton Explains “What’s Wrong with TED Talks?” and Why They’re a “Recipe for Civ­i­liza­tion­al Dis­as­ter”

1756 TED Talks List­ed in a Neat Spread­sheet

Your Favorite TED Talk Ever?

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

The Wisdom & Advice of Maurice Ashley, the First African-American Chess Grandmaster

I don’t know about you, but when I’ve thought of chess grand­mas­ters, I’ve often thought of Rus­sians, north­ern Euro­peans, the occa­sion­al Amer­i­can, the guy on the Chess­mas­ter box — pure­ly by stereo­type, in oth­er words. I’ve nev­er thought of any­one from, say, Jamaica, the coun­try of birth of Mau­rice Ash­ley, not just a chess grand­mas­ter but a chess com­men­ta­tor, writer, app and puz­zle design­er, speak­er and Fel­low at the Media Lab at MIT. Since we’ve only just entered Feb­ru­ary, known in the Unit­ed States as Black His­to­ry Month, why not high­light the Brook­lyn-raised (and Brook­lyn-park trained) Ash­ley’s sta­tus as, in the words of his offi­cial web site, “the first African-Amer­i­can Inter­na­tion­al Grand­mas­ter in the annals of the game”?

Giv­en the impres­sive­ness of his achieve­ments, we might also ask what we can learn from him, whether or not we play chess our­selves. You can learn a bit more about Ash­ley, the work he does, and the work his stu­dents have gone on to do, in The World Is a Chess Board, the five-minute Mash­able doc­u­men­tary at the top of the post. Even in that short run­time, he has much to say about how the game (which, he clar­i­fies, “we con­sid­er an art form”) not only reflects life, and reflects the per­son­al­i­ties of its play­ers, but teach­es those play­ers — espe­cial­ly the young ones who may come from less-than-ide­al begin­nings — all about focus, deter­mi­na­tion, choice, and con­se­quence. Per­haps the most impor­tant les­son? “You’ve got to be ready to lose.”

Ash­ley expounds upon the val­ue of chess as a tool to hone the mind in “Work­ing Back­ward to Solve Prob­lems,” a clip from his TED Ed les­son just above. He begins by wav­ing off the mis­per­cep­tion, com­mon among non-chess-play­ers, that grand­mas­ters “see ahead” ten, twen­ty, or thir­ty moves into the game, then goes on to explain that the sharpest play­ers do it not by look­ing for­ward, but by look­ing back­ward. He pro­vides a few exam­ples of how using this sort of “ret­ro­grade analy­sis,” com­bined with pat­tern recog­ni­tion, applies to prob­lems in a range of sit­u­a­tions from proof­read­ing to biol­o­gy to law enforce­ment to card tricks. If you ever have a chance to enter into a bet with this man, don’t.

That’s my advice, any­way. As far as Ash­ley’s advice goes, if we endorse any par­tic­u­lar take­away from what he says here, we endorse the first step of his chess-learn­ing strat­e­gy for absolute begin­ners, which works equal­ly well as the first step of a learn­ing strat­e­gy for absolute begin­ners in any­thing: “The best advice I could give a young per­son today is, go online and watch some videos.” Stick with us, and we’ll keep you in all the videos you need.

Relat­ed Con­tent:

Mar­cel Duchamp, Chess Enthu­si­ast, Cre­at­ed an Art Deco Chess Set That’s Now Avail­able via 3D Print­er

Kas­parov Talks Chess, Tech­nol­o­gy and a Lit­tle Life at Google

Free App Lets You Play Chess With 23-Year-Old Nor­we­gian World Cham­pi­on Mag­nus Carlsen

Watch Bill Gates Lose a Chess Match in 79 Sec­onds to the New World Chess Cham­pi­on Mag­nus Carlsen

A Famous Chess Match from 1910 Reen­act­ed with Clay­ma­tion

Chess Rivals Bob­by Fis­ch­er and Boris Spassky Meet in the ‘Match of the Cen­tu­ry’

Vladimir Nabokov’s Hand-Drawn Sketch­es of Mind-Bend­ing Chess Prob­lems

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Professional Pickpocket Apollo Robbins Explains the Art of Misdirection

You’ve got to pick-a-pock­et or two, boys 

You’ve got to pick-a-pock­et or two. 

Unlike the Art­ful Dodger and oth­er light-fin­gered urchins brought to life by Charles Dick­ens and, more recent­ly, com­pos­er Lionel Bartpro­fes­sion­al pick­pock­et Apol­lo Rob­bins con­fines his prac­tice to the stage.

Past exploits include reliev­ing actress Jen­nifer Gar­ner of her engage­ment ring and bas­ket­ball Hall-of-Famer Charles Barkley of a thick bankroll. In 2001, he vir­tu­al­ly picked for­mer U.S. pres­i­dent Jim­my Carter’s Secret Ser­vice detail clean, net­ting badges, a watch, Carter’s itin­er­ary, and the keys to his motor­cade. (Rob­bins wise­ly steered clear of their guns.)

How does he does he do it? Prac­tice, prac­tice, prac­tice… and remain­ing hyper vig­i­lant as to the things com­mand­ing each indi­vid­ual vic­tim­s’s atten­tion, in order to momen­tar­i­ly redi­rect it at the most con­ve­nient moment.

Clear­ly, he’s a put lot of thought into the emo­tion­al and cog­ni­tive com­po­nents. In a TED talk on the art of mis­di­rec­tion, above, he cites psy­chol­o­gist Michael Posner’s “Trin­i­ty Mod­el” of atten­tion­al net­works. He has deep­ened his under­stand­ing through the study of aiki­do, crim­i­nal his­to­ry, and the psy­chol­o­gy of per­sua­sion. He under­stands that get­ting his vic­tims to tap into their mem­o­ries is the best way to tem­porar­i­ly dis­arm their exter­nal alarm bells. His easy­go­ing, seem­ing­ly spon­ta­neous ban­ter is but one of the ways he gains marks’ trust, even as he pen­e­trates their spheres with a preda­to­ry grace.

Watch his hands, and you won’t see much, even after he explains sev­er­al tricks of his trade, such as secur­ing an already depock­et­ed wal­let with his index fin­ger to reas­sure a jack­et-pat­ting vic­tim that it’s right where it belongs. (Half a sec­ond lat­er, it’s drop­ping below the hem of that jack­et into Rob­bins’ wait­ing hand.) Those paws are fast!

I do won­der how he would fare on the street. His act depends on a fair amount of chum­my touch­ing, a phys­i­cal inti­ma­cy that could quick­ly cause your aver­age straphang­er to cry foul. I guess in such an instance, he’d lim­it the take to one pre­cious item, a cell phone, say, and leave the wal­let and watch to a non-the­o­ret­i­cal “whiz mob” or street pick­pock­et team.

Though he him­self has always been scrupu­lous about return­ing the items he lib­er­ates, Rob­bins does not with­hold pro­fes­sion­al respect for his crim­i­nal broth­ers’ moves. One real-life whiz mob­ber so impressed him dur­ing a tele­vi­sion inter­view that he drove over four hours to pick the perp’s brains in a min­i­mum secu­ri­ty prison, a con­fab New York­er reporter Adam Green described in col­or­ful detail as part of a lengthy pro­file on Rob­bins and his craft.

One small detail does seem to have escaped Rob­bins’ atten­tion in the sec­ond demon­stra­tion video below, in which reporter Green will­ing­ly steps into the role of vic’. Per­haps Rob­bins doesn’t care, though his mark cer­tain­ly should. The sit­u­a­tion is less QED than XYZPDQ.

While you’re tak­ing notice, don’t for­get to remain alert to what a poten­tial pick­pock­et is wear­ing. Such atten­tion to detail may serve you down at the sta­tion, if not onstage.

Relat­ed Con­tent:

Watch Björk’s 6 Favorite TED Talks, From the Mush­room Death Suit to the Vir­tu­al Choir

The Sci­ence of Willpow­er: 15 Tips for Mak­ing Your New Year’s Res­o­lu­tions Last from Dr. Kel­ly McGo­ni­gal

The Kit­ty Gen­ovese Myth and the Pop­u­lar Imag­i­na­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. The sleep­ing bag-like insu­lat­ing prop­er­ties of her ankle-length faux leop­ard coat make her very pop­u­lar with the pick­pock­ets of New York. Fol­low her @AyunHalliday

Adam Savage’s Animated Lesson on the Simple Ideas That Lead to Great Scientific Discoveries

Edu­ca­tor, indus­tri­al design fab­ri­ca­tor and Myth Busters cohost Adam Sav­age is dri­ven by curios­i­ty.

Sci­ence gets his wheels turn­ing faster than the notched disc Hip­poly­te Fizeau used to mea­sure the speed of light in 1849.

In his TED-Ed talk on how sim­ple ideas lead to sci­en­tif­ic dis­cov­er­ies, above, Sav­age zips across the cen­turies to share the work of three game chang­ers — Fizeau, Eratos­thenes, and Richard Feyn­man (one of the de fac­to patron saints of sci­ence-relat­ed TED talks).

I found it dif­fi­cult to wrap my head around the sheer quan­ti­ties of infor­ma­tion Sav­age shoe­horns into the sev­en minute video, giv­ing sim­i­lar­ly vol­u­ble and omniv­o­rous math­mu­si­cian Vi Hart a run for her mon­ey. Clear­ly, he under­stands exact­ly what he’s talk­ing about, where­as I had to take the review quiz in an attempt to retain just a bit of this new-to-me mate­r­i­al.

I’m glad he glossed over Feynman’s child­hood fas­ci­na­tion with iner­tia in order to spend more time on the less­er known of his three sub­jects. Lit­tle Feynman’s obser­va­tion of his toy wag­on is charm­ing, but the Nobel Prize winner’s life became an open book to me with Jim Otta­viani and Leland Myrick’s excel­lent graph­ic biog­ra­phy. What’s left to dis­cov­er?

How about Eratos­thenes? I’d nev­er before heard of the Alexan­dri­an librar­i­an who cal­cu­lat­ed the Earth­’s cir­cum­fer­ence with aston­ish­ing accu­ra­cy around 200 BC. (It helped that he was good at math and geog­ra­phy, the lat­ter of which he invent­ed.) Inspi­ra­tion fuels the arts, much as it does sci­ence, and I’d like to learn more about him.

Dit­to Fizeau, whom Sav­age describes as a less sexy sci­en­tif­ic swash­buck­ler than method­i­cal fact check­er, which is what he was doing when he wound up crack­ing the speed of light in 1849. Two cen­turies ear­li­er Galileo used lanterns to deter­mine that light trav­els at least ten times faster than sound. Fizeau put Galileo’s num­ber to the test, exper­i­ment­ing with his notched wheel, a can­dle, and mir­rors and ulti­mate­ly set­ting the speed of light at a much more accu­rate 313,300 Km/s. Today’s mea­sure­ment of 299792.458 km/s was arrived at using tech­nol­o­gy unthink­able even a few decades ago.

Per­son­al­ly, I would nev­er think to mea­sure the speed of light with some­thing that sounds like a zoetrope, but I might write a play about some­one who did.

Relat­ed Con­tent:

Neil deGrasse Tyson Deliv­ers the Great­est Sci­ence Ser­mon Ever

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

Sam Har­ris: Sci­ence Can Answer Moral Ques­tions

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City lat­er this fall. Fol­low her @AyunHalliday

Walt Whitman’s Poem “A Noiseless Patient Spider” Brought to Life in Three Animations

How can a mod­ern edu­ca­tor go about get­ting a stu­dent to con­nect to poet­ry?

For­get the emo kid pour­ing his heart out into a spi­ral jour­nal.

Dit­to the youth­ful slam poet­ess, wield­ing pro­nun­ci­a­tion like a cud­gel.

Think of some­one tru­ly hard to reach, a reluc­tant read­er per­haps, or maybe just some­one (doesn’t have to be a kid) who’s con­vinced all poet­ry sucks.

You could stage a rap bat­tle.

Take the drudgery out of mem­o­riza­tion by find­ing a pop melody well suit­ed to singing Emi­ly Dick­in­son stan­zas.

Or appeal to the YouTube gen­er­a­tion via short ani­ma­tions, as edu­ca­tor Justin Moore does in the TED-Ed les­son, above.

Ani­ma­tion, like poet­ry, is often a mat­ter of taste, and Moore’s les­son hedges its bets by enlist­ing not one, but three ani­ma­tor-nar­ra­tor teams to inter­pret Walt Whit­man’s “A Noise­less Patient Spi­der.”

Orig­i­nal­ly pub­lished as part of the poem “Whis­pers of Heav­en­ly Death,” and includ­ed in the 1891 “deathbed edi­tion” of Leaves of Grass, the poem equates the soul’s des­per­ate strug­gle to con­nect with some­thing or some­one with that of a spi­der, seek­ing to build a web in a less than ide­al loca­tion.

Two of the ani­ma­tors, Jere­mi­ah Dick­ey and Lisa LaBra­cio launch them­selves straight toward the “fil­a­ment, fil­a­ment, fil­a­ment.” Seems like a sol­id plan. An indus­tri­ous spi­der indus­tri­ous­ly squirt­ing threads out of its nether region cre­ates a cool visu­al that echoes both Charlotte’s Web and the rep­e­ti­tion with­in the poem.

Mahogany Browne’s nar­ra­tion of Dickey’s paint­ing on glass mines the stri­den­cy of slam. Nar­ra­tor Rives gives a more low key per­for­mance with LaBracio’s scratch­board inter­pre­ta­tion.

In-between is Joan­na Hoffman’s spi­der­less exper­i­men­tal video, voiced with a wee bit of vocal fry by Joan­na Hoff­man. Were I to pick the one least like­ly to cap­ture a student’s imag­i­na­tion…

Once the stu­dent has watched all three ani­ma­tions, it’s worth ask­ing what the poem means. If no answer is forth­com­ing, Moore sup­plies some ques­tions that might help stuck wheels start turn­ing. Ques­tion num­ber five strikes me as par­tic­u­lar­ly ger­mane, know­ing the ruinous effect the teenage ten­den­cy to gloss over unfa­mil­iar vocab­u­lary has on com­pre­hen­sion.

Ulti­mate­ly, I pre­fer the below inter­pre­ta­tion of Kristin Sirek, who uses her YouTube chan­nel to read poet­ry, includ­ing her own, out loud, with­out any bells or whis­tles what­so­ev­er.

A noise­less patient spi­der,
I mark’d where on a lit­tle promon­to­ry it stood iso­lat­ed,
Mark’d how to explore the vacant vast sur­round­ing,
It launch’d forth fil­a­ment, fil­a­ment, fil­a­ment, out of itself,
Ever unreel­ing them, ever tire­less­ly speed­ing them.
And you O my soul where you stand,
Sur­round­ed, detached, in mea­sure­less oceans of space,
Cease­less­ly mus­ing, ven­tur­ing, throw­ing, seek­ing the spheres to con­nect them,
Till the bridge you will need be form’d, till the duc­tile anchor hold,
Till the gos­samer thread you fling catch some­where, O my soul.

 Relat­ed Con­tent:

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

Orson Welles Reads From America’s Great­est Poem, Walt Whitman’s “Song of Myself” (1953)

Mar­i­lyn Mon­roe Reads Walt Whitman’s Leaves of Grass (1952)

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

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