The History of the Plague: Every Major Epidemic in an Animated Map

All of us have tried to come to grips with the coro­n­avirus in dif­fer­ent ways. Here on Open Cul­ture we’ve fea­tured online cours­es to get you con­ver­sant in the sci­ence around the pan­dem­ic, but read­ers of this site will also have sought out the most per­ti­nent works of his­to­ry and lit­er­a­ture. That goes espe­cial­ly for those in need of read­ing mate­r­i­al while in states of quar­an­tine or lock­down (self-imposed or oth­er­wise), and any list of rec­om­mend­ed books must include Daniel Defoe’s A Jour­nal of the Plague Year and Albert Camus’ The Plague. (I recent­ly wrote about the expe­ri­ence of read­ing that last in Korea, where I live, for the Los Ange­les Review of Books.) Both fic­tion­al­ize local out­breaks of the bubon­ic plague, but how far and wide did that hor­rif­ic and much-mythol­o­gized dis­ease actu­al­ly spread?

You can see exact­ly how far and wide in the ani­mat­ed his­tor­i­cal map above, cre­at­ed by a Youtu­ber called Emper­or­Tiger­star. It main­ly cov­ers the peri­od of 431 BC to 1353 AD, dur­ing most of which the plague looks to have occurred in Europe, the Mid­dle East, and Africa with some reg­u­lar­i­ty. Up until the 1330s, the out­breaks stay small enough that you may have to view the map in fullscreen mode to ensure that you even see them.

But even the most casu­al stu­dents of his­to­ry know what hap­pened next: the best-known occur­rence of the Black Death, whose peak last­ed from 1347 to 1351 and which claimed some­where between 75 to 200 mil­lion lives (includ­ing rough­ly half of Europe’s entire pop­u­la­tion). Ren­dered, suit­ably, in black, the plague’s spread comes even­tu­al­ly to look on the map like a sea of ink splashed vio­lent­ly across mul­ti­ple con­ti­nents.

The plague hard­ly died with the 1350s, a fact this map acknowl­edges. It would, writes Emper­or­Tiger­star, “take years to go away, and even then there would be local out­breaks in indi­vid­ual cities for cen­turies.” These Black Death after­shocks, “big in their own right,” include the Great Plague of Milan in the 1630s, the Great Plague of Seville in the 1640s, and the Great Plague of Lon­don in the 1660s — the sub­ject of Defoe’s nov­el. When Camus wrote The Plague in 1947, the Alger­ian city of Oran in which he set its sto­ry had expe­ri­enced its last out­break of the dis­ease just three years before (at least the fifth such expe­ri­ence in its his­to­ry). Though har­row­ing sto­ries are even now com­ing out of places like mod­ern-day Milan, the coro­n­avirus has yet to match the grue­some dead­li­ness of the plagues fea­tured in either of these books. But unless we under­stand how epi­demics afflict­ed human­i­ty in the past, we can hard­ly han­dle them prop­er­ly in the present.

Relat­ed Con­tent:

Free Cours­es on the Coro­n­avirus: What You Need to Know About the Emerg­ing Pan­dem­ic

Bill Gates Describes His Biggest Fear: “I Rate the Chance of a Wide­spread Epi­dem­ic Far Worse Than Ebo­la at Well Over 50 Per­cent” (2015)

The 1855 Map That Rev­o­lu­tion­ized Dis­ease Pre­ven­tion & Data Visu­al­iza­tion: Dis­cov­er John Snow’s Broad Street Pump Map

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

200,000 Years of Stag­ger­ing Human Pop­u­la­tion Growth Shown in an Ani­mat­ed Map

Ani­mat­ed Map Shows How the Five Major Reli­gions Spread Across the World (3000 BC – 2000 AD)

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.

Why New Diseases Like COVID-19 Keep Appearing in China

From Vox comes a short explain­er that delves into why virus­es like COVID-19 have often first tak­en off in Chi­na. They write:

As of ear­ly March 2020, a new coro­n­avirus, called COVID-19, is in more than 70 coun­tries and has killed more than 3,100 peo­ple, the vast major­i­ty in Chi­na. That’s where the virus emerged back in Decem­ber 2019. This isn’t a new phe­nom­e­non for Chi­na; in 2003, the SARS virus also emerged there, and under sim­i­lar cir­cum­stances, before spread­ing around the world and killing near­ly 800.

Both SARS and COVID-19 are in the “coro­n­avirus” fam­i­ly, and both appear to have emerged from ani­mals in Chi­na’s noto­ri­ous wildlife mar­kets. Experts had long pre­dict­ed that these mar­kets, known to be poten­tial sources of dis­ease, would enable anoth­er out­break. The mar­kets, and the wildlife trade that sup­ports them, are the under­ly­ing prob­lem of these pan­demics; until Chi­na solves that prob­lem, more are like­ly to emerge.

Days ago, Chi­na’s wildlife-farm­ing indus­try was per­ma­nent­ly shut down by Chi­nese offi­cials.

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!

Relat­ed Con­tent:

Free Cours­es on the Coro­n­avirus: What You Need to Know About the Emerg­ing Pan­dem­ic

Inter­ac­tive Web Site Tracks the Glob­al Spread of the Coro­n­avirus: Cre­at­ed and Sup­port­ed by Johns Hop­kins

Chi­nese Muse­ums, Closed by the Coro­n­avirus, Put Their Exhi­bi­tions Online

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Free Courses on the Coronavirus: What You Need to Know About the Emerging Pandemic

The coro­n­avirus has spread out of Chi­na, into South Korea, Japan and now Italy. We’re set­tling into the real­i­ty that we’re like­ly fac­ing a pan­dem­ic. It’s time to edu­cate ourselves–to take some free cours­es on COVID-19.

In response to the out­break, Impe­r­i­al Col­lege Lon­don has put togeth­er a free course (offered through Cours­era) called “Sci­ence Mat­ters: Let’s Talk About COVID-19.” The course will teach you the “sci­ence under­pin­ning the nov­el Coro­n­avirus out­break,” so that you can under­stand “how the spread of the epi­dem­ic is mod­eled, how trans­mis­si­bil­i­ty of infec­tions is esti­mat­ed, what the chal­lenges are in esti­mat­ing the case fatal­i­ty ratio, and also … the impor­tance of com­mu­ni­ty involve­ment in respond­ing to the epi­dem­ic.” You can get start­ed with this course right now.

Alter­na­tive­ly you can sign up for COVID-19: Tack­ling the Nov­el Coro­n­avirus. Cre­at­ed by Future­Learn and The Lon­don School of Hygiene and Trop­i­cal Med­i­cine, this course looks at “how COVID-19 emerged, was iden­ti­fied and spreads, the pub­lic health mea­sures for the virus world­wide, and what is need­ed to address COVID-19 and pre­vent it [from] spread­ing.” Although the course is now open for enroll­ment, it won’t offi­cial­ly start until March 22.

Both cours­es will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Note: The Uni­ver­si­ty of Hong Kong also offer a course on Epi­demics.

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!

Relat­ed Con­tent:

Inter­ac­tive Web Site Tracks the Glob­al Spread of the Coro­n­avirus: Cre­at­ed and Sup­port­ed by Johns Hop­kins

 

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Interactive Web Site Tracks the Global Spread of the Coronavirus: Created and Supported by Johns Hopkins

Johns Hop­kins has cre­at­ed an inter­ac­tive web­site that tracks the spread of the coro­n­avirus around the globe. The site is updat­ed dai­ly, if not sev­er­al times per day. And it shows the num­ber of con­firmed coro­n­avirus cas­es around the globe (along with the pre­cise loca­tion on a map), the num­ber of peo­ple who have recov­ered from the virus, and the total num­ber who have per­ished. With the report today that Italy has seen coro­n­avirus spike from 3 cas­es, to 132 230, in a mat­ter of days, it does look like coro­n­avirus is tak­ing on a more glob­al dimen­sion. That’s all reflect­ed on the Johns Hop­kins site, whose data is drawn from the WHOCDCECDCNHC and DXY. You can read more about the inter­ac­tive web­site at The Lancet.

Find infor­ma­tion about the Coro­n­avirus at this ded­i­cat­ed CDC web­site.

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!

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Electronic Musician Shows How He Uses His Prosthetic Arm to Control a Music Synthesizer with His Thoughts

The tech­no-futur­ist prophets of the late 20th cen­tu­ry, from J.G. Bal­lard to William Gib­son to Don­na Har­away, were right, it turns out, about the inti­mate phys­i­cal unions we would form with our machines. Har­away, pro­fes­sor emer­i­tus of the His­to­ry of Con­scious­ness and Fem­i­nist Stud­ies at the Uni­ver­si­ty of Cal­i­for­nia, San­ta Cruz, pro­claimed her­self a cyborg back in 1985. Whether read­ers took her ideas as metaphor or pro­lep­tic social and sci­en­tif­ic fact hard­ly mat­ters in hind­sight. Her voice was pre­dic­tive of the every­day bio­met­rics and mechan­ics that lay just around the bend.

It can seem we are a long way, cul­tur­al­ly, from the decade when Haraway’s work became required read­ing in “under­grad­u­ate cur­ricu­lum at count­less uni­ver­si­ties.” But as Hari Kun­zru wrote in 1997, “in terms of the gen­er­al shift from think­ing of indi­vid­u­als as iso­lat­ed from the ‘world’ to think­ing of them as nodes on net­works, the 1990s may well be remem­bered as the begin­ning of the cyborg era.” Three decades lat­er, net­worked implants that auto­mate med­ical data track­ing and analy­sis and reg­u­late dosages have become big busi­ness, and mil­lions feed their vitals dai­ly into fit­ness track­ers and mobile devices and upload them to servers world­wide.

So, fine, we are all cyborgs now, but the usu­al use of that word tends to put us in mind of a more dra­mat­ic meld­ing of human and machine. Here too, we find the cyborg has arrived, in the form of pros­thet­ic limbs that can be con­trolled by the brain. Psy­chol­o­gist, DJ, and elec­tron­ic musi­cian Bertolt Mey­er has such a pros­the­sis, as he demon­strates in the video above. Born with­out a low­er left arm, he received a robot­ic replace­ment that he can move by send­ing sig­nals to the mus­cles that would con­trol a nat­ur­al limb. He can rotate his hand 360 degrees and use it for all sorts of tasks.

Prob­lem is, the tech­nol­o­gy has not quite caught up with Meyer’s need for speed and pre­ci­sion in manip­u­lat­ing the tiny con­trols of his mod­u­lar syn­the­siz­ers. So Mey­er, his artist hus­band Daniel, and synth builder Chrisi of KOMA Elek­tron­ik set to work on bypass­ing man­u­al con­trol alto­geth­er, with a pros­thet­ic device that attach­es to Meyer’s arm where the hand would be, and works as a con­troller for his syn­the­siz­er. He can change para­me­ters using “the sig­nals from my body that nor­mal­ly con­trol the hand,” he writes on his YouTube page. “For me, this feels like con­trol­ling the synth with my thoughts.”

Mey­er walks us through the process of build­ing his first pro­to­types in an Inspec­tor Gad­get-meets-Kraftwerk dis­play of ana­logue inge­nu­ity. We might find our­selves won­der­ing: if a hand­ful of musi­cians, artists, and audio engi­neers can turn a pros­thet­ic robot­ic arm into a mod­u­lar synth con­troller that trans­mits brain­waves, what kind of cyber­net­ic enhancements—musical and otherwise—might be com­ing soon from major research lab­o­ra­to­ries?

What­ev­er the state of cyborg tech­nol­o­gy out­side Meyer’s garage, his bril­liant inven­tion shows us one thing: the human organ­ism can adapt to being plugged into the unlike­li­est of machines. Show­ing us how he uses the Syn­Limb to con­trol a fil­ter in one of his syn­the­siz­er banks, Mey­er says, “I don’t even have to think about it. I just do it. It’s zero effort because I’m so used to pro­duc­ing this mus­cle sig­nal.”

Advance­ments in bio­me­chan­i­cal tech­nol­o­gy have giv­en dis­abled indi­vid­u­als a sig­nif­i­cant amount of restored func­tion. And as gen­er­al­ly hap­pens with major upgrades to acces­si­bil­i­ty devices, they also show us how we might all become even more close­ly inte­grat­ed with machines in the near future.

via Boing Boing

Relat­ed Con­tent:

How Inge­nious Sign Lan­guage Inter­preters Are Bring­ing Music to Life for the Deaf: Visu­al­iz­ing the Sound of Rhythm, Har­mo­ny & Melody

Eve­lyn Glen­nie (a Musi­cian Who Hap­pens to Be Deaf) Shows How We Can Lis­ten to Music with Our Entire Bod­ies

Neu­rosym­pho­ny: A High-Res­o­lu­tion Look into the Brain, Set to the Music of Brain Waves

Twerk­ing, Moon­walk­ing AI Robots–They’re Now Here

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

42 Hours of Ambient Sounds from Blade Runner, Alien, Star Trek and Doctor Who Will Help You Relax & Sleep

Back in 2009, the musi­cian who goes by the name “Cheesy Nir­vosa” began exper­i­ment­ing with ambi­ent music, before even­tu­al­ly launch­ing a YouTube chan­nel where he “com­pos­es long­form space and sci­fi ambi­ence.” Or what he oth­er­wise calls “ambi­ent geek sleep aids.” Click on the video above, and you can get lulled to sleep lis­ten­ing to the ambi­ent dron­ing sound–get ready Blade Run­ner fans!– heard in Rich Deckard’s apart­ment. It runs a good con­tin­u­ous 12 hours.

You’re more a Star Trek fan? Ok, try nod­ding off to the idling engine noise of a ship fea­tured in Star Trek: The Next Gen­er­a­tion. Mr. Nir­vosa cleaned up a sam­ple from the show and then looped it for 24 hours. That makes for one long sleep.

Or how about 12 hours of ambi­ent engine noise gen­er­at­ed by the USCSS Nos­tro­mo in Alien?

Final­ly, and per­haps my favorite, Cheesy cre­at­ed a 12 hour clip of the ambi­ent sounds made by the Tardis, the time machine made famous by the British sci-fi TV show, Doc­tor Who. But watch out. You might wake up liv­ing in a dif­fer­ent time and place.

For lots more ambi­ent sci-fi sounds (Star Wars, The Matrix, Bat­tlestar Galac­ti­ca, etc. ) check out this super long playlist here.

Note: An ear­li­er ver­sion of this post appeared on our site in March 2017.

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!

Relat­ed Con­tent:

The Ency­clo­pe­dia of Sci­ence Fic­tion: 17,500 Entries on All Things Sci-Fi Are Now Free Online

10 Hours of Ambi­ent Arc­tic Sounds Will Help You Relax, Med­i­tate, Study & Sleep

Moby Lets You Down­load 4 Hours of Ambi­ent Music to Help You Sleep, Med­i­tate, Do Yoga & Not Pan­ic

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

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What Is the Coronavirus?: Answers to Common Questions About the Mysterious New Virus Spreading Across China

Above, The Guardian’s health edi­tor, Sarah Bose­ley, answers basic ques­tions you might have about the coro­n­avirus out­break in Wuhan, Chi­na.

What are the symp­toms? Where have cas­es been con­firmed so far? How is the virus trans­mit­ted? What are the avail­able treat­ments? Should I be pan­ick­ing? and more…

For more infor­ma­tion, vis­it the CDC web­site.

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!

Itzhak Perlman Appears on Sesame Street and Poignantly Shows Kids How to Play the Violin and Push Through Life’s Limits (1981)

I always cham­pi­on any­thing that will improve the lives of peo­ple with dis­abil­i­ties and put it on the front burn­er. — Itzhak Perl­man

At its best, the Inter­net expands our hori­zons, intro­duc­ing us to new inter­ests and per­spec­tives, forg­ing con­nec­tions and cre­at­ing empa­thy.

The edu­ca­tion­al chil­dren’s series Sesame Street was doing all that decades ear­li­er.

Wit­ness this brief clip from 1981, star­ring vio­lin vir­tu­oso Itzhak Perl­man and a six-year-old stu­dent from the Man­hat­tan School of Music.

For many child—and per­haps adult—viewers, this excerpt pre­sent­ed their first sig­nif­i­cant encounter with clas­si­cal musi­cal and/or dis­abil­i­ty.

The lit­tle girl scam­pers up the steps to the stage as Perl­man, who relies on crutch­es and a motor­ized scoot­er to get around, fol­lows behind, heav­ing a sigh of relief as he low­ers him­self into his seat.

Already the point has been made that what is easy to the point of uncon­scious­ness for some presents a chal­lenge for oth­ers.

Then each takes a turn on their vio­lin.

Perlman’s skills are, of course, unpar­al­leled, and the young girl’s seem pret­ty excep­tion­al, too, par­tic­u­lar­ly to those of us who nev­er man­aged to get the hang of an instru­ment. (She began lessons at 3, and told the Suzu­ki Asso­ci­a­tion of the Amer­i­c­as that her Sesame Street appear­ance with Perl­man was the “high­light of [her] pro­fes­sion­al career.”)

In the near­ly 40 years since this episode first aired, pub­lic aware­ness of dis­abil­i­ty and acces­si­bil­i­ty has become more nuanced, a devel­op­ment Perl­man dis­cussed in a 2014 inter­view with the Wall Street Jour­nal, below.

Hav­ing resent­ed the way ear­ly fea­tures about him invari­ably show­cased his dis­abil­i­ty, he found that he missed the oppor­tu­ni­ty to advo­cate for oth­ers when men­tions dropped off.

Trans­paren­cy cou­pled with celebri­ty pro­vides him with a mighty plat­form. Here he is speak­ing in the East Room of the White House in 2015, on the day that Pres­i­dent Oba­ma hon­ored him with the Medal of Free­dom:

And his col­lab­o­ra­tions with Sesame Street have con­tin­ued through­out the decadesinclud­ing per­for­mances of “You Can Clean Almost Any­thing” (to the tune of Bach’s Par­ti­ta for Solo Vio­lin), “Put Down the Duck­ie,” Pagli­ac­ci’s Vesti la giub­ba (back­ing up Placido Flamin­go), and Beethoven’s Min­uet in G, below.

Read more of Perlman’s thoughts on dis­abil­i­ty, and enroll in his Mas­ter Class here.

Relat­ed Con­tent:

Great Vio­lin­ists Play­ing as Kids: Itzhak Perl­man, Anne-Sophie Mut­ter, & More

Philip Glass Com­pos­es Music for a Sesame Street Ani­ma­tion (1979)

See Ste­vie Won­der Play “Super­sti­tion” and Ban­ter with Grover on Sesame Street in 1973

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Jan­u­ary 6 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domaincel­e­brates Cape-Cod­di­ties by Roger Liv­ingston Scaife (1920). Fol­low her @AyunHalliday.

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