Carl Sagan Explains Evolution in an 8‑Minute Animation

in Biology, Science | March 2nd, 2022

Biological evolution: never has a phenomenon so important so lent itself to such clear, understandable, elegant explanations. But just as evolution itself produces a seemingly infinite variety of life forms, so the human understanding of evolution has produced countless educational and entertaining kinds of illustrations by which to explain it. In the video above, astronomer-astrophysicist-cosmologist Carl Sagan, no stranger to demystifying the once seemingly unfathomable phenomena of our universe, shows how evolution actually works with eight minutes of crisp animation that take us from molecules in the primordial soup, to bacteria, to plants and polyps, to lampreys, to turtles, to dinosaurs and birds, to wombats, to baboons and apes, to us. Then he goes back and does the whole four billion-year evolutionary journey again in forty seconds.

This concise lesson concerns itself not just with how we human beings came about, but how everything else came about as well. That wide-angle view of reality won a great deal of acclaim for Sagan’s Cosmos: A Personal Voyage, the 1980 television series on which the segment originally appeared. Though most of its original broadcasts on life, the universe, and everything still hold up as well as this clip on evolution, a 21st-century successor has lately appeared in the form of Cosmos: A Spacetime Odyssey, hosted by astrophysicist Neil deGrasse Tyson, doubtless the most suited heir to Sagan’s tradition of enthusiasm and rigor in public science communication. For a more extended treatment of evolution, see also our post from earlier this week on deGrasse Tyson’s episode on the subject, in which he spends an entire hour on his equally fascinating explanation of what, up to and including you, he, and I, natural selection has so far come up with.

Note: An earlier version of this post appeared on our site in 2014.

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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

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The New Herbal: A Masterpiece of Renaissance Botanical Illustrations Gets Republished in a Beautiful 900-Page Book

in Art, Biology, Books, History | February 24th, 2022

We’ve all have heard of the fuchsia, a flower (or genus of flowering plant) native to Central and South America but now grown far and wide. Though even the least botanically literate among us know it, we may have occasional trouble spelling its name. The key is to remember who the fuchsia was named for: Leonhart Fuchs, a German physician and botanist of the sixteenth century. More than 450 years after his death, Fuchs is remembered as not just the namesake of a flower, but as the author of an enormous book detailing the varieties of plants and their medicinal uses. His was a landmark achievement in the form known as the herbal, examples of which we’ve featured here on Open Culture from ninth- and eighteenth-century England.

But De Historia Stirpium Commentarii Insignes, as this work was known upon its initial 1542 publication in Latin, has worn uncommonly well through the ages. Or rather, Fuchs’ personal, hand-colored original has, coming down to us in 2022 as the source for Taschen’s The New Herbal. “A masterpiece of Renaissance botany and publishing,” according to the publisher, the book includes “over 500 illustrations, including the first visual record of New World plant types such as maize, cactus, and tobacco.”

Buyers also have their choice of English, German, and French editions, each with its own translations of Fuchs’ “essays describing the plants’ features, origins, and medicinal powers.” (You can also read a Dutch version of the original online at Utrecht University Library Special Collections.)

Naturally, some of the information contained in these nearly five-century-old scientific writings will be a bit dated at this point, but the appeal of the illustrations has never dimmed. “Fuchs presented each plant with meticulous woodcut illustrations, refining the ability for swift species identification and setting new standards for accuracy and quality in botanical publications.” Over 500 of them go into the book: “Weighing more than 10 pounds,” writes Colossal’s Grace Ebert, “the nearly 900-page volume is an ode to Fuchs’ research and the field of Renaissance botany, detailing plants like the leafy garden balsam and root-covered mandrake.”

Taschen’s reproductions of these works of botanical art look to do justice to Leonhart Fuchs’ legacy, especially in the brilliance of their colors. It’s enough to reinforce the assumption that the man has received tribute not just through fuchsia the flower but fuchsia the color as well. But such a dual connection turns out to be in doubt: the color’s name derives from rosaniline hydrochloride, also known as fuchsine, originally a trade name applied by its manufacturer Renard frères et Franc. The name fuschine, in turn, derives from fuchs, the German translation of renard. The New Herbal is, of course, a work of botany rather than linguistics, but it should nevertheless stimulate in its beholders an awareness of the interconnection of knowledge that fired up the Renaissance mind.

via Colossal

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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.

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Space Sex is Serious Business: A Hilarious Short Animation Addresses Serious Questions About Human Reproduction in Space

in Biology, Physics, Science | February 7th, 2022

Back in the late 80s, there was a rumor floating around that Earth Girls Are Easy.

40 some years of scientific and social advancement have shifted the conversational focus.

We’re just now beginning to understand that Space Sex is Serious Business.

Particularly if SpaceX CEO Elon Musk achieves his goal of establishing a permanent human presence on Mars.

Surely at some point in their long travels to and residence on Mars, those pioneers would get down to business in much the same way that rats, fruit flies, parasitic wasps, and Japanese rice fish have while under observation on prior space expeditions.

Meanwhile, we’re seriously lacking in human data.

A pair of human astronauts, Jan Davis and Mark Lee, made history in 1992 as the first married couple to enter space together, but NASA insisted their relations remained strictly professional for the duration, and that a shuttle’s crew compartment is too small for the sort of antics a nasty-minded public kept asking about.

In an interview with Mens Health, Colonel Mike Mullane, a veteran of three space missions, confirmed that a spacecraft’s layout doesn’t favor romance:

The only privacy would have been in the air lock, but everybody would know what you were doing. You’re not out there doing a spacewalk. There’s no reason to be in there.

Shortly after Davis and Lee returned to earth, NASA formalized an unspoken rule prohibiting husbands and wives from venturing into space together. It did little to squelch public interest in space sex.

One wonders if NASA’s rule has been rewritten in accordance with the times. Air lock aside, might same sex couples remain free to swing what hetero-normative marrieds (arguably) cannot?

This is but one of hundreds of space sex questions begging further consideration.

Some of the most serious are raised in Tom McCarten’s witty collage animation for FiveThirtyEight, above.

Namely how damaging will cosmic radiation and microgravity prove to human reproduction? As more humans toy with the possibility of leaving Earth, this question feels less and less hypothetical.

Maggie Koerth-Baker, who researched and narrates the animated short, notes that Musk portrayed the risks of radiation as minor during a presentation at the 67th International Astronautical Congress in Guadalajara, Mexico, and breathed not a peep as to the effects of microgravity.

Yet scientific studies of non-human space travelers document a host of reproductive issues including lowered libido, atypical hormone levels, ovulatory dysfunction, miscarriages, and fetal mutations.

On its webpage, NASA provides some information about the Reproduction, Development, and Sex Differences Laboratory of its Space Biosciences Research Branch, but remains mum on topics of pressing concern to, say, students in a typical middle school sex ed class.

Like achieving and maintaining erections in microgravity.

In Physiology News Magazine, Dr. Adam Watkins, associate professor of Reproductive and Developmental Physiology at the University of Nottingham, suggests that internal and external atmospheric changes would make such things, pardon the pun, hard:

Firstly, just staying in close contact with each other under zero gravity is hard. Secondly, as astronauts experience lower blood pressure while in space, maintaining erections and arousal are more problematic than here on Earth.

The exceptionally forthright Col Mullane has some contradictory first hand experience that should come as a relief to all humankind:

A couple of times, I would wake up from sleep periods and I had a boner that I could have drilled through kryptonite.

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- Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto. Follow her @AyunHalliday.

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1,100 Delicate Drawings of Root Systems Reveals the Hidden World of Plants

in Archives, Art, Biology | January 20th, 2022

We know that plants can inspire art. If you, personally, still require convincing on that point, just have a look at Elizabeth Twining’s Illustrations of the Natural Orders of Plants, the drawings of Ernst Heinrich Haeckel, Elizabeth Blackwell’s A Curious Herbal, and Nancy Anne Kingsbury Wollstonecraft’s Specimens of the Plants and Fruits of the Island of Cuba — not to mention the paintings of Georgia O’ Keeffe — all previously featured here on Open Culture. But those works concern themselves only with plant life as it exists above ground.

What goes on down below, underneath the soil? That you can see for yourself — and without having to pull up one of our fine flowering (or non-flowering) friends to do so — at Wageningen University’s online archive of root system drawings. “The outcome of 40 years of root system excavations in Europe,” says that site, the collection contains 1,180 diagrams of species from Abies alba (best known today as a kind of Christmas tree) to Zygophyllum xanthoxylon (a faintly scrubby-looking native of the arid and semi-arid regions of continents like Africa and Australia).

The site explains that “the drawings, their analysis and description were done by Univ. Prof. Dr. Erwin Lichtenegger (1928–2004) and Univ. Prof. Dr. Lore Kutschera (1917–2008), leader of Pflanzensoziologisches Institut, Klagenfurt, (now in Bad Goisern, Austria).”

Over the course of 40 years, writes The Washington Post’s Erin Blakemore, Lichtenegger and Kustchera “collaborated on an enormous ‘root atlas’ that maps the underground trajectories of common European plants.” Created through “a laborious system of digging up and documenting the intricate systems,” these drawings are “also art in their own right, honoring the beauty of a part of plants most never give that much thought.”

Even the least botanically aware among us knows that plants have roots, but how many of us are aware of the scale and complexity those roots can attain? “Root systems allow plants to gather the water and minerals they use to grow,” writes Blakemore. “As the root system grows, it creates more and more pathways that allow water to get into the deep subsoil, and fostering the growth of microbes that benefit other life. Strong root systems can prevent erosion, protecting the land on which they grow. And the structures allow the soil to capture carbon.” Thus root systems, never a particular locus of coolness, have the distinction of doing their part to fight climate change. And thanks to Lichtenegger and Kustchera’s drawings, they underscore the capacity of art to reveal worlds hidden to most of us. View all of the images here.

via Colossal

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Based in Seoul, Colin Marshall writes and broadcasts on cities 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 Faceboo k.

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People in the Middle Ages Slept Not Once But Twice Each Night: How This Lost Practice Was Rediscovered

in Biology, History | January 17th, 2022

The importance of a good night’s sleep has been featured now and again here on Open Culture. But were a medieval European to visit our time, he’d probably ask — among other questions — if we didn’t mean a good night’s sleeps, plural. The evidence suggests that the people of the Middle Ages slept not straight through the night but in two distinct stretches. This practice has come back to light in recent years thanks to the research of historian Roger Ekirch, author of At Day’s Close: Night in Times Past. “Both phases of sleep lasted roughly the same length of time,” he writes in that book, “with individuals waking sometime after midnight before returning to rest.”

But “not everyone, of course, slept according to the same timetable. The later at night that persons went to bed, the later they stirred after their initial sleep; or, if they retired past midnight, they might not awaken at all until dawn. Thus, in ‘The Squire’s Tale’ in The Canterbury Tales, Canacee slept ‘soon after evening fell’ and subsequently awakened in the early morning following ‘her first sleep’; in turn, her companions, staying up much later, ‘lay asleep till it was fully prime’ (daylight).” Proof widespread “biphasic sleep” exists not just in Chaucer, but — for those who know where to look — all over the surviving documents from medieval Europe.

“In France, the initial sleep was the premier somme,” writes BBC.com’s Zaria Gorvett. “In Italy, it was primo sonno. In fact, Eckirch found evidence of the habit in locations as distant as Africa, South and Southeast Asia, Australia, South America and the Middle East”; the earliest reference he turned up comes from Homer’s Odyssey. Whatever their era of history, biphasic sleepers seem to have made good use of their intervals of wakefulness, known in English as “the watch.” During it, peasants worked, Christians prayed, and thieves thieved, “but most of all, the watch was useful for socializing – and for sex.” After a long day’s work, “the first sleep took the edge off their exhaustion and the period afterwards was thought to be an excellent time to conceive copious numbers of children.”

Biphasic sleep and its attendant habits didn’t survive the 19th century. The reasons, as Ekirch explains in the interview above, have to do with the Industrial Revolution, that great disruption of traditions followed since time immemorial. Along with “the increasing prevalence of artificial illumination both within homes and outside,” he says, “bedtimes were pushed back, even though people still awakened at the same time in the morning.” Apart from introducing new technologies, the Industrial Revolution “also changed peoples’ attitudes toward work,” making humanity “increasingly time-conscious: productivity, efficiency were the hallmarks of the 19th century.” We continue to set store by them today, though we also handle the disruption of sleep in our own, distinctively 21st-century ways. Would anyone care to explain to our medieval time-traveler the practice of midnight Twitter-scrolling?

via BBC/Medievalists

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Based in Seoul, Colin Marshall writes and broadcasts on cities 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 Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 6 ) |

Animals Laugh Too: UCLA Study Finds Laughter in 65 Species, from Rats to Cows

in Biology | January 5th, 2022

Every pet owner knows that animals love to play, but laughter seems reserved for humans, a few apes, and maybe a few birds good at mimicking humans and apes. As it turns out, according to a new article published in the journal Bioacoustics, laughter has been “documented in at least 65 species,” Jessica Wolf writes at UCLA Newsroom. “That list includes a variety of primates, domestic cows and dogs, foxes, seals, and mongooses, as well as three bird species, including parakeets and Australian magpies.” This is a far cry from just a few years ago when apes and rats were the “only known animals to get the giggles,” as Liz Langley wrote at National Geographic in 2015.

Yes, rats laugh. How do scientists know this? They tickle them, of course, as you can see in the video just above. (Rat tickling, it turns out, is good for the animals’ well being.) The purpose of this experiment was to better understand human touch — and tickling, says study author Michael Brecht, “is one of the most poorly understood forms of touch.”

Laughter, on the other hand, seems somewhat better understood, even among species separated from us by tens of millions of years of evolution. In their recent article, UCLA primatologist Sasha Winkler and UCLA professor of communication Greg Bryant describe how “play vocalizations” signal non-aggression during roughhousing. As Winkler puts it:

When we laugh, we are often providing information to others that we are having fun and also inviting others to join. Some scholars have suggested that this kind of vocal behavior is shared across many animals who play, and as such, laughter is our human version of an evolutionarily old vocal play signal.

Generally, humans are unlikely to recognize animal laughter as such or even perceive it at all. “Our review indicates that vocal play signals are usually inconspicuous,” the authors write. Rats, for example, make “ultrasonic vocalizations” beyond the range of human hearing. The play vocalizations of chimpanzees, on the other hand, are much more similar to human laughter, “although there are some differences,” Winkler notes in an interview. “Like, they vocalize in both the in-breath and out breath.”

Why study animal laughter? Beyond the inherent interest of the topic — an especially joyful one for scientific researchers — there’s the serious business of understanding how “human social complexity allowed laughter to evolve from a play-specific vocalization into a sophisticated pragmatic signal,” as Winkler and Bryant write. We use laughter to signal all kinds of intentions, not all of them playful. But no matter how many uses humans find for the vocal signal, we can see in this new review article how deeply non-aggressive play is embedded throughout the animal world and in our evolutionary history. Read “Play vocalisations and human laughter: a comparative review” here.

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

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The Omicron Variant Explained by Neil deGrasse Tyson & Regeneron President George Yancopoulos

in Biology, Health | December 28th, 2021

What is the Omicron Variant? How do vaccines work? And what about monoclonal antibody therapy? On this episode of StarTalk, Neil deGrasse Tyson has a wide-ranging and quite informative conversation with George Yancopoulos, president of Regeneron, the company that created the monoclonal antibody therapy now being used in the fight against COVID-19. And there’s an interesting side note: During the 1970s, Tyson and Yancopoulos were high school classmates together at Bronx Science. They’ve both come a long way, and now they re-unite to explain the science behind the latest phase of the pandemic.

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Albertus Seba’s Cabinet of Natural Curiosities: Discover One of the Most Prized Natural History Books of All Time (1734–1765)

in Biology, Books, Nature | December 13th, 2021

In the eighteenth century, a European could know the world in great detail without ever leaving his homeland. Or he could, at least, if he got into the right industry. So it was with Albertus Seba, a Dutch pharmacist who opened up shop in Amsterdam just as the eighteenth century began. Given the city’s prominence as a hub of international trade, which in those days was mostly conducted over water, Seba could acquire from the crew members of arriving ships all manner of plant and animal specimens from distant lands. In this manner he amassed a veritable private museum of the natural world.

The “cabinets of curiosities” Seba put together — as collectors of wonders did in those days — ranked among the largest on the continent. But when he died in 1736, his magnificent collection did not survive him. He’d already sold much of it twenty years earlier to Peter the Great, who used it as the basis for Russia’s first museum, the Kunstkammer in St. Petersburg.

What remained had to be auctioned off in order to fund one of Seba’s own projects: the Locupletissimi rerum naturalium thesauri accurata descriptio, or “Accurate description of the very rich thesaurus of the principal and rarest natural objects,” pages of which you can view at the Public Domain Review and the Metropolitan Museum of Art.

This four-volume set of books constituted an attempt to catalog the variety of living things on Earth, a formidable endeavor that Seba was nevertheless well-placed to undertake, rendering each one in engravings made lifelike by their depth of color and detail. The lavish production of the Thesaurus (more recently replicated in the condensed form of Taschen’s Cabinet of Natural Curiosities) presented a host of challenges both physical and economic. But there was also the intellectual problem of how, exactly, to organize all its textual and visual information. As originally published, it groups its specimens by physical similarities, in a manner vaguely similar to the much more influential system published by Swedish scientist Carl Linnaeus in 1735.

Linnaeus, as it happens, twice visited Seba to examine the latter’s famous collection. It surely had an influence on his thinking on how to name everything in the biological realm: not just the likes of trees, owls, snakes, and jellyfish, but also the “paraxoda,” creatures whose existence was suspected but not confirmed. These included not only the hydra and the phoenix, but also the rhinoceros and the pelican.

Eighteenth-century Europeans possessed much more information about the world than did their ancestors, but facts were still more than occasionally intermixed with fantasy. Given the strangeness of what had recently been documented, no one dared put limits on the strangeness of what hadn’t.

Note: A number of the vibrant images on this page come from the Taschen edition.

Ernst Haeckel’s Sublime Drawings of Flora and Fauna: The Beautiful Scientific Drawings That Influenced Europe’s Art Nouveau Movement (1889)

Behold an Interactive Online Edition of Elizabeth Twining’s Illustrations of the Natural Orders of Plants (1868)

A Curious Herbal: 500 Beautiful Illustrations of Medicinal Plants Drawn by Elizabeth Blackwell in 1737 (to Save Her Family from Financial Ruin)

Explore a New Archive of 2,200 Historical Wildlife Illustrations (1916–1965): Courtesy of The Wildlife Conservation Society

Based in Seoul, Colin Marshall writes and broadcasts on cities 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 Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Carl Sagan Explains Evolution in an 8‑Minute Animation

The New Herbal: A Masterpiece of Renaissance Botanical Illustrations Gets Republished in a Beautiful 900-Page Book

Space Sex is Serious Business: A Hilarious Short Animation Addresses Serious Questions About Human Reproduction in Space

1,100 Delicate Drawings of Root Systems Reveals the Hidden World of Plants

People in the Middle Ages Slept Not Once But Twice Each Night: How This Lost Practice Was Rediscovered

Animals Laugh Too: UCLA Study Finds Laughter in 65 Species, from Rats to Cows

The Omicron Variant Explained by Neil deGrasse Tyson & Regeneron President George Yancopoulos

Albertus Seba’s Cabinet of Natural Curiosities: Discover One of the Most Prized Natural History Books of All Time (1734–1765)

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