The Brilliant Colors of the Great Barrier Revealed in a Historic Illustrated Book from 1893

Paul Simon’s famous lyric about everything looking worse in black and white
is hardly a universal truth, but when it comes to William Saville-Kent's groundbreaking 1893 book The Great Barrier Reef of Australia: its products and potentialitiesthe assertion may have some merit.

Saville-Kent, a naturalist whose work in various British aquariums eventually led to a gig rebuilding depleted Tasmanian oyster beds, fell hard for the colorful fish, bêche-de-mer, corals, sponges, turtles, and other marine species he encountered in Australia.

He photographed the Great Barrier Reef while serving in Queensland as Commissioner of Fisheries. 48 of his images were published in the aforementioned book, offering readers an unprecedented armchair tour of a coral reef, albeit in black and white.

 

While Saville-Kent definitely achieved his goal of furthering the public’s awareness of the reef, he also upstaged himself by including 16 color lithographs inspired by his original watercolors.

These plates, by London-based lithographers Riddle and Couchman—whose work usually ran toward portraits of well-born gentlemen—exude a lively Seussian appeal.

Saville-Kent’s carefully captured fish, echinoderms, and anemones literally pale in comparison to the bright specimens the lithographers, who presumably lacked his firsthand experience of the forms they were depicting, brought to such vibrant life in the back of the book.

These days, alas, the Great Barrier Reef resembles Saville-Kent's photos more closely than those gorgeous lithographs, the victim of back-to-back bleaching events brought on by pollution-related climate change.

Saville-Kent is buried at All Saints Churchin Milford-on-Sea, Hampshire, England. His grave is decorated with coral.

Browse a digital copy of The Great Barrier Reef of Australia: its products and potentialities here.

via The Public Domain Review

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inkyzine.  Join her in NYC on Monday, June 17 for another monthly installment of her public domain-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

A Subway Map of Human Anatomy: All the Systems of Our Body Visualized in the Style of the London Underground

We all have bodies, but how many of us truly know our way around them? Plenty of books explain in detail the functions of and relationships between each and every part of our anatomy, but few of them do it in a way the layman — and especially the layman not yet accustomed to the sight of human viscera laid bare — can readily grasp. We need a visualization of the human body, but what kind of visualization can best represent it with a maximum of clarity and a minimum of misleading distortion?

"Most people might imagine an intricate network of blood vessels or the complex neural circuits of the brain," writes Visual Capitalist's Iman Ghosh. "Or we might picture diagrams from the iconic medical textbook, Gray’s Anatomy." But how about a visualization of the body in the style of a classic piece of information design we've all seen at least once, the London Underground map? "Created by Jonathan Simmonds M.D., a resident physician at Tufts Medical Center," Ghosh writes, "it’s a simple yet beautifully intuitive demonstration of how efficiently our bodies work."

Just as Harry Beck's original 1933 London Underground map straightened out and color-coded each of the lines then in operation, Simmonds' anatomical map traces thirteen different "lines" through the body, each of which represents a different system of the body: the nervous system in yellow, for example, the airway system in black, and the lymphatic system in green. "While dashed lines represent deeper structures, sections with ‘transfers’ show where different organ systems intersect," Ghosh writes. If you're wondering where to start, she adds, "there’s a helpful 'You Are Here' at the heart."

You can take a close look at Simmonds' work in a large, high-resolution version here. Not only does following the model of the London Underground map introduce a degree of immediate legibility seldom seen (at least by non-medical students) in anatomical diagrams, it also underscores an aspect of the very nature of our human bodies that we don't often consider. We might instinctively think of them as sets of discrete organs all encased together and functioning independently, but in fact they're more like cities: just as busy, just as interconnected, just as dependent on connections and routines, and just as improbably functional.

via Visual Capitalist

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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, on Facebook, or on Instagram.

Mapping Emotions in the Body: A Finnish Neuroscience Study Reveals Where We Feel Emotions in Our Bodies

“Eastern medicine” and “Western medicine”—the distinction is a crude one, often used to misinform, mislead, or grind cultural axes rather than make substantive claims about different theories of the human organism. Thankfully, the medical establishment has largely given up demonizing or ignoring yogic and meditative mind-body practices, incorporating many of them into contemporary pain relief, mental health care, and preventative and rehabilitative treatments.

Hindu and Buddhist critics may find much not to like in the secular appropriation of practices like mindfulness and yoga, and they may find it odd that such a fundamental insight as the relationship between mind and body should ever have been in doubt. But we know from even a slight familiarity with European philosophy (“I think, therefore I am”) that it was from the Enlightenment into the 20th century.

Now, says Riitta Hari, co-author of a 2014 Finish study on the bodily locations of emotion, “We have obtained solid evidence that shows the body is involved in all types of cognitive and emotional functions. In other words, the human mind is strongly embodied.” We are not brains in vats. All those colorful old expressions—“cold feet,” “butterflies in the stomach,” “chill up my spine”—named qualitative data, just a handful of the embodied emotions mapped by neuroscientist Lauri Nummenmaa and co-authors Riitta Hari, Enrico Glerean, and Jari K. Hietanen.

In their study, the researchers “recruited more than 1,000 participants” for three experiments, reports Ashley Hamer at Curiosity. These included having people “rate how much they experience each feeling in their body vs. in their mind, how good each one feels, and how much they can control it.” Participants were also asked to sort their feelings, producing “five clusters: positive feelings, negative feelings, cognitive processes, somatic (or bodily) states and illnesses, and homeostatic states (bodily functions).”

After making careful distinctions between not only emotional states, but also between thinking and sensation, the study participants colored blank outlines of the human body on a computer when asked where they felt specific feelings. As the video above from the American Museum of Natural History explains, the researchers “used stories, video, and pictures to provoke emotional responses,” which registered onscreen as warmer or cooler colors.

Similar kinds of emotions clustered in similar places, with anger, fear, and disgust concentrating in the upper body, around the organs and muscles that most react to such feelings. But “others were far more surprising, even if they made sense intuitively,” writes Hamer “The positive emotions of gratefulness and togetherness and the negative emotions of guilt and despair all looked remarkably similar, with feelings mapped primarily in the heart, followed by the head and stomach. Mania and exhaustion, another two opposing emotions, were both felt all over the body.”

The researchers controlled for differences in figurative expressions (i.e. “heartache”) across two languages, Swedish and Finnish. They also make reference to other mind-body theories, such as using “somatosensory feedback... to trigger conscious emotional experiences” and the idea that “we understand others’ emotions by simulating them in our own bodies.” Read the full, and fully illustrated, study results in “Bodily Maps of Emotions,” published by the National Academy of Sciences.

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

An Animated History of Dogs, Inspired by Keith Haring

That quivering teacup Chihuahua…

The long-suffering Labrador whose child-friendly reputation has led to a lifetime of ear tugging and tail pulling…

The wheezing French bulldog, whose owner has outfitted with a full wardrobe of hoodies, tutus, rain slickers, and pajamas

All descended from wolves.

As anthropologist and science educator David Ian Howe explains in the animated TED-Ed lesson, A Brief History of Dogs, above, at first glance, canis lupus seemed an unlikely choice for man’s best friend.

For one thing, the two were in direct competition for elk, reindeer, bison, and other tasty prey wandering Eurasia during the Pleistocene Epoch.

Though both hunted in groups, running their prey to the point of exhaustion, only one roasted their kills, creating tantalizing aromas that drew bolder wolves ever-closer to the human camps.

The ones who willingly dialed down their wolfishness, making themselves useful as companions, security guards and hunting buddies, were rewarded come suppertime. Eventually, this mutually beneficial tail wagging became full on domestication, the first such animal to come under the human yoke.

The intense focus on purebreds didn't really become a thing until the Victorians began hosting dog shows. The push to identify and promote breed-specific characteristics often came at a cost to the animals’ wellbeing, as Neil Pemberton and Michael Worboys point out in BBC History Magazine:

…the improvement of breeds towards ‘perfection’ was controversial. While there was approval for the greater regularity of type, many fanciers complained that standards were being set on arbitrary, largely aesthetic grounds by enthusiasts in specialist clubs, without concern for utility or the health of the animal. This meant that breeds were changing, and not always for the better. For example, the modern St Bernard was said to be a beautiful animal, but would be useless in Alpine rescue work.

Cat-fanciers, rest assured that the opposition received fair and equal coverage in a feline-centric TED-Ed lesson, published earlier this year.

And while we applaud TED-Ed for sparking our curiosity with its “Brief History of” series, covering topics as far ranging as cheese, numerical systems, goths, video games, and tea, surely we are not the only ones wondering why the late artist Keith Haring isn’t thanked or name checked in the credits?

Every canine-shaped image in this animation is clearly descended from his iconic barking dog.

While we can’t explain the omission, we can direct readers toward Jon Nelson’s great analysis of Haring’s relationship with dogs in Get Leashed:

They’re symbolic of unanswered questions, prevalent in the 80s: “Can I do this?” “Is this right?” “What are you doing?” “What is happening?” Dogs stand by people, barking or dancing along, sometimes in precarious scenarios, even involved in some of Haring’s explicitly sexual work. Dogs are neither approving nor disapproving of what people do in the images; their mouth angle is neutral or even happy. In some cases, human bodies wear a dog’s head, possibly stating that we know only our own enjoyment, unaware, like a dog, of life’s next stage or the consequences of our actions.

Visit Ethnocynology, David Ian Howe’s Instagram page about the ancient relationship between humans and dogs.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in New York City April 15 for the next installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

A Brief Animated Introduction to Noam Chomsky’s Linguistic Theory, Narrated by The X-Files‘ Gillian Anderson

How is it that children just entering toddlerhood pick up the structure of their respective languages with ease? They are not formally taught to use speech; they have limited cognitive abilities and a “poverty of stimulus,” given their highly circumscribed environments. And yet, they learn the function and order of subjects, verbs, and objects, and learn to recognize improper usage. Children might make routine mistakes, but they understand and can be understood from a very early age, and for the most part without very much difficulty. How?

These are the questions that confronted Noam Chomsky in the early years of his career in linguistics. His answers produced a theory of Universal Grammar in the 1960s, and for decades, it has been the reigning theory in the field to beat, initiating what is often referred to as the “Chomskyan Era,” a phrase the man himself dislikes but which nonetheless sums up the kinds of issues that have been at stake in linguistics for over fifty years.

Questions about language acquisition have always been the subject of intense philosophical speculation. They were folded into general theories of epistemology, like Plato’s theory of forms or John Locke’s so-called “blank slate” hypothesis. Variations on these positions surface in different forms throughout Western intellectual history. Descartes picks up Plato’s dualism, arguing that humans speak and animals don’t because of the existence of an immortal “rational soul.” Behaviorist B.F. Skinner suggests that operant conditioning writes language onto a totally impressionable mind. (“Give me a child,” said Skinner, “and I will shape him into anything.”)

Chomsky “gave a twist” to this age-old debate over the existence of innate ideas, as Gillian Anderson tells us in the animated video above from BBC 4’s History of Ideas series. Chomsky’s theory is biolinguistic: it situates language acquisition in the structures of the brain. Not being himself a neurobiologist, he talks of those theoretical structures, responsible for reproducing accurate syntax, as a metaphorical “language acquisition device” (LAD), a hardwired faculty that separates the human brain from that of a dog or cat.

Chomsky’s theory has little to do with the content of language, but rather with its structure, which he says is universally encoded in our neural architecture. Children, he writes, “develop language because they’re pre-programmed to do this.” Syntax is prior to and independent of specific meaning, a point he demonstrated with the poetic sentence “Colorless green ideas sleep furiously.” Every English speaker can recognize the sentence as grammatical, even very small children, though it refers to no real objects and would never occur in conversation.

Conversely, we recognize “Furiously sleep ideas green colorless” as ungrammatical, though it means no more nor less than the first sentence. The regional variations on word order only underline his point since, in every case, children quickly understand how to use the version they’re presented with at roughly the same developmental age and in the same way. The existence of a theoretical Language Acquisition Device solves the chicken-egg problem of how children with no understanding of and only a very limited exposure to language, can learn to speak just by listening to language.

Chomsky’s theory was revolutionary in large part because it was testable, and researchers at the professor’s longtime employer, MIT, recently published evidence of a “language universal” they discovered in a comparative study of 37 languages. It's compelling research that just might anticipate the discovery of a physical Language Acquisition Device, or its neurobiological equivalent, in every human brain.

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

Becoming: A Short Timelapse Film Shows a Single Cell Morphing Into a Complete, Complex Living Organism

From Jan van IJken comes "Becoming," a short timelapse film that documents "the miraculous genesis of animal life." He writes:

In great microscopic detail, we see the 'making of' an Alpine Newt in its transparant egg from the first cell division to hatching. A single cell is transformed into a complete, complex living organism with a beating heart and running bloodstream.

The first stages of embryonic development are roughly the same for all animals, including humans. In the film, we can observe a universal process which normally is invisible: the very beginning of an animal's life.

"Becoming" has been "selected at more than 20 international film festivals and won the award for Best short documentary at Innsbruck Nature Film Festival 2018, Austria." Enjoy.

Would you like to support the mission of Open Culture? Please 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.

Also consider following Open Culture on Facebook and Twitter and sharing intelligent media with your friends. Or sign up for our daily email and get a daily dose of Open Culture in your inbox. 

via Twisted Sifter

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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

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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.

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