How Ada Lovelace, Daughter of Lord Byron, Wrote the First Computer Program in 1842–a Century Before the First Computer

I’ve nev­er quite under­stood why the phrase “revi­sion­ist his­to­ry” became pure­ly pejo­ra­tive. Of course, it has its Orwellian dark side, but all knowl­edge has to be revised peri­od­i­cal­ly, as we acquire new infor­ma­tion and, ide­al­ly, dis­card old prej­u­dices and nar­row frames of ref­er­ence. A fail­ure to do so seems fun­da­men­tal­ly regres­sive, not only in polit­i­cal terms, but also in terms of how we val­ue accu­rate, inter­est­ing, and engaged schol­ar­ship. Such research has recent­ly brought us fas­ci­nat­ing sto­ries about pre­vi­ous­ly mar­gin­al­ized peo­ple who made sig­nif­i­cant con­tri­bu­tions to sci­en­tif­ic dis­cov­ery, such as NASA’s “human com­put­ers,” por­trayed in the book Hid­den Fig­ures, then dra­ma­tized in the film of the same name.

Like­wise, the many women who worked at Bletch­ley Park dur­ing World War II—helping to deci­pher encryp­tions like the Nazi Enig­ma Code (out of near­ly 10,000 code­break­ers, about 75% were women)—have recent­ly been get­ting their his­tor­i­cal due, thanks to “revi­sion­ist” researchers. And, as we not­ed in a recent post, we might not know much, if any­thing, about film star Hedy Lamarr’s sig­nif­i­cant con­tri­bu­tions to wire­less, GPS, and Blue­tooth tech­nol­o­gy were it not for the work of his­to­ri­ans like Richard Rhodes. These few exam­ples, among many, show us a fuller, more accu­rate, and more inter­est­ing view of the his­to­ry of sci­ence and tech­nol­o­gy, and they inspire women and girls who want to enter the field, yet have grown up with few role mod­els to encour­age them.

We can add to the pan­theon of great women in sci­ence the name Ada Byron, Count­ess of Lovelace, the daugh­ter of Roman­tic poet Lord Byron. Lovelace has been renowned, as Hank Green tells us in the video at the top of the post, for writ­ing the first com­put­er pro­gram, “despite liv­ing a cen­tu­ry before the inven­tion of the mod­ern com­put­er.” This pic­ture of Lovelace has been a con­tro­ver­sial one. “His­to­ri­ans dis­agree,” writes prodi­gious math­e­mati­cian Stephen Wol­fram. “To some she is a great hero in the his­to­ry of com­put­ing; to oth­ers an over­es­ti­mat­ed minor fig­ure.”

Wol­fram spent some time with “many orig­i­nal doc­u­ments” to untan­gle the mys­tery. “I feel like I’ve final­ly got­ten to know Ada Lovelace,” he writes, “and got­ten a grasp on her sto­ry. In some ways it’s an ennobling and inspir­ing sto­ry; in some ways it’s frus­trat­ing and trag­ic.” Edu­cat­ed in math and music by her moth­er, Anne Isabelle Mil­banke, Lovelace became acquaint­ed with math­e­mat­ics pro­fes­sor Charles Bab­bage, the inven­tor of a cal­cu­lat­ing machine called the Dif­fer­ence Engine, “a 2‑foot-high hand-cranked con­trap­tion with 2000 brass parts.” Bab­bage encour­aged her to pur­sue her inter­ests in math­e­mat­ics, and she did so through­out her life.

Wide­ly acknowl­edged as one of the fore­fa­thers of com­put­ing, Bab­bage even­tu­al­ly cor­re­spond­ed with Lovelace on the cre­ation of anoth­er machine, the Ana­lyt­i­cal Engine, which “sup­port­ed a whole list of pos­si­ble kinds of oper­a­tions, that could in effect be done in arbi­trar­i­ly pro­grammed sequence.” When, in 1842, Ital­ian math­e­mati­cian Louis Mene­brea pub­lished a paper in French on the Ana­lyt­i­cal Engine, “Bab­bage enlist­ed Ada as trans­la­tor,” notes the San Diego Super­com­put­er Cen­ter’s Women in Sci­ence project. “Dur­ing a nine-month peri­od in 1842–43, she worked fever­ish­ly on the arti­cle and a set of Notes she append­ed to it. These are the source of her endur­ing fame.” (You can read her trans­la­tion and notes here.)

In the course of his research, Wol­fram pored over Bab­bage and Lovelace’s cor­re­spon­dence about the trans­la­tion, which reads “a lot like emails about a project might today, apart from being in Vic­to­ri­an Eng­lish.” Although she built on Bab­bage and Menebrea’s work, “She was clear­ly in charge” of suc­cess­ful­ly extrap­o­lat­ing the pos­si­bil­i­ties of the Ana­lyt­i­cal Engine, but she felt “she was first and fore­most explain­ing Babbage’s work, so want­ed to check things with him.” Her addi­tions to the work were very well-received—Michael Fara­day called her “the ris­ing star of Science”—and when her notes were pub­lished, Bab­bage wrote, “you should have writ­ten an orig­i­nal paper.”

Unfor­tu­nate­ly, as a woman, “she couldn’t get access to the Roy­al Society’s library in Lon­don,” and her ambi­tions were derailed by a severe health cri­sis. Lovelace died of can­cer at the age of 37, and for some time, her work sank into semi-obscu­ri­ty. Though some his­to­ri­ans have  seen her as sim­ply an expos­i­tor of Babbage’s work, Wol­fram con­cludes that it was Ada who had the idea of “what the Ana­lyt­i­cal Engine should be capa­ble of.” Her notes sug­gest­ed pos­si­bil­i­ties Bab­bage had nev­er dreamed. As the Women in Sci­ence project puts it, “She right­ly saw [the Ana­lyt­i­cal Engine] as what we would call a gen­er­al-pur­pose com­put­er. It was suit­ed for ‘devel­op­ping [sic] and tab­u­lat­ing any func­tion what­ev­er… the engine [is] the mate­r­i­al expres­sion of any indef­i­nite func­tion of any degree of gen­er­al­i­ty and com­plex­i­ty.’ Her Notes antic­i­pate future devel­op­ments, includ­ing com­put­er-gen­er­at­ed music.”

In a recent episode of the BBC’s In Our Time, above, you can hear host Melvyn Bragg dis­cuss Lovelace’s impor­tance with his­to­ri­ans and schol­ars Patri­cia Fara, Doron Swade, and John Fue­gi. And be sure to read Wolfram’s bio­graph­i­cal and his­tor­i­cal account of Lovelace here.

Relat­ed Con­tent:

How 1940s Film Star Hedy Lamarr Helped Invent the Tech­nol­o­gy Behind Wi-Fi & Blue­tooth Dur­ing WWII

The Con­tri­bu­tions of Women Philoso­phers Recov­ered by the New Project Vox Web­site

Real Women Talk About Their Careers in Sci­ence

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

Browse a Collection of Over 83,500 Vintage Sewing Patterns

My cos­tume design pro­fes­sor at North­west­ern Uni­ver­si­ty, Vir­gil John­son, delight­ed stu­dents with his for­mu­la for peri­od cloth­ing. I have for­got­ten some of the math­e­mat­ic and seman­tic particulars—does dress­ing some­one five years behind the times a “frumpy” char­ac­ter make? Or is it mere­ly one?

I do recall some anx­ious hours, prepar­ing for the school’s main stage pro­duc­tion of the inces­tu­ous Jacobean revenge tragedy, ’Tis Pity She’s a Whore. The soci­etal cor­rup­tion of the play was under­scored by hav­ing the sup­port­ing char­ac­ters slouch around, snort­ing mimed cocaine in cut­ting edge, mid-80s Vogue Pat­terns … those big unstruc­tured jack­ets were very a la mode, but they gob­bled up a lot of high-bud­get fab­ric, and I didn’t want to be the one to make a cost­ly sewing mis­take.

What sticks in my mind most clear­ly is that 20 years was the sweet spot, the appro­pri­ate amount of elapsed time to ensure that one would not appear dumpy, dowdy, or obliv­i­ous, but rather pru­dent and dis­cern­ing. Don­ning a gar­ment that was 15 years out of fash­ion might be dar­ing­ly “retro,” but anoth­er five and that same gar­ment could be her­ald­ed as “vin­tage.”

The col­lab­o­ra­tive Vin­tage Pat­tern Wiki puts the mag­ic num­ber at 25, request­ing that con­trib­u­tors make sure the pat­terns they post are from 1992 or ear­li­er, and also out-of-print.

The brows­able col­lec­tion of over 83,500 pat­terns runs the gamut from Dynasty-inspired pussy bow pow­er suits to Bet­ty Drap­er-esque frocks fea­tur­ing mod­els in white gloves to an 1895 boys’ Reefer Suit with fly-free short trousers.

Vis­i­tors can nar­row their search to focus on a par­tic­u­lar gar­ment, design­er or decade. If you click these links, you can see pat­terns from the fol­low­ing decades: 1920s, 1930s, 1940s, 1950s, 1960s1970s, and 1980s.

The movie star col­lec­tion is par­tic­u­lar­ly fun. (Flat­ter­ing or no, I’ve always want­ed a pair of Katharine Hep­burn pants…)

And it goes with­out say­ing that the dog days of sum­mer are the per­fect time to get a jump on your Hal­loween cos­tume.

Those who are itch­ing to get sewing should check the links below each pat­tern enve­lope cov­er for ven­dors who have the pat­tern in stock and pho­tos and posts by com­mu­ni­ty mem­bers who have made that same gar­ment.

The prices and hand­writ­ten jot­tings of the orig­i­nal own­ers will also put you in a vin­tage mood.

The hunt starts here.

via Metafil­ter

Relat­ed Con­tent:

The Online Knit­ting Ref­er­ence Library: Down­load 300 Knit­ting Books Pub­lished From 1849 to 2012

Fri­da Kahlo’s Col­or­ful Clothes Revealed for the First Time & Pho­tographed by Ishi­uchi Miyako

Google Cre­ates a Dig­i­tal Archive of World Fash­ion: Fea­tures 30,000 Images, Cov­er­ing 3,000 Years of Fash­ion His­to­ry

The BBC Cre­ates Step-by-Step Instruc­tions for Knit­ting the Icon­ic Dr. Who Scarf: A Doc­u­ment from the Ear­ly 1980s

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

The Female Pioneers of the Bauhaus Art Movement: Discover Gertrud Arndt, Marianne Brandt, Anni Albers & Other Forgotten Innovators

You’d be for­giv­en for assum­ing that the Bauhaus, the mod­ern art and design move­ment that emerged from the epony­mous Ger­man art school in the 1920s and 30s, did­n’t involve many women. Per­haps the famous near-indus­tri­al aus­ter­i­ty of its aes­thet­ic, espe­cial­ly at large scales, has stereo­typ­i­cal asso­ci­a­tions with male­ness, but also, Bauhaus’ most oft-ref­er­enced lead­ing lights — Paul Klee, Wal­ter Gropius, Wass­i­ly Kandin­sky, Lás­zló Moholy-Nagy, Oskar Schlem­mer — all hap­pened to be men. But if we seek out the women of the Bauhaus, what can we learn?

“When it opened, the Bauhaus school declared itself pro­gres­sive and mod­ern and advo­cat­ed equal­i­ty for the sex­es, which was rare at the time,” says Eve­lyn Adams in her short video on the Women of the Bauhaus above. “Val­ue was placed on skill rather than gen­der. Class­es weren’t seg­re­gat­ed, and women were free to select whichev­er sub­jects they want­ed.”

This had an under­stand­able appeal, and in the school’s first year more women applied than men. But alas, “in real­i­ty, despite hav­ing rad­i­cal aspi­ra­tions, the men in charge of the school rep­re­sent­ed the soci­etal atti­tudes of the time. If every­one was wel­comed as equals, then why did none of the women reach the same lev­el of recog­ni­tion as Paul Klee or Wass­i­ly Kandin­sky?”

The sto­ry of Gertrud Arndt, one of whose self-por­traits appears above and one of whose tex­tiles appears below that, sheds some light on the answer. “She must have felt so opti­mistic,” writes the New York Times’ Alice Raw­sthorn, when she arrived at the Bauhaus school of art and design in 1923 as “a gift­ed, spir­it­ed 20-year-old who had won a schol­ar­ship to pay for her stud­ies. Hav­ing spent sev­er­al years work­ing as an appren­tice to a firm of archi­tects, she had set her heart on study­ing archi­tec­ture.” But because of a “long-run­ning bat­tle between its found­ing direc­tor, the archi­tect Wal­ter Gropius, and one of its most charis­mat­ic teach­ers, Johannes Itten, who want­ed to use the school as a vehi­cle for his qua­si-spir­i­tu­al approach to art and design,” the Bauhaus’ house, as it were, had fall­en out of order.

Alas, “Arndt was told that there was no archi­tec­ture course for her to join and was dis­patched to the weav­ing work­shop.” In recent years, the Bauhaus Archive in Berlin has put on shows to hon­or female Bauhausers like Ard­nt, tex­tile design­er Beni­ta Koch-Otte, and the­ater design­er, illus­tra­tor, and col­or the­o­rist Lou Schep­er-Berkenkamp. “The sit­u­a­tion improved after Gropius suc­ceed­ed in oust­ing Itten in 1923,” writes Raw­sthorn, hir­ing Moholy-Nagy in Itten’s place. “Hav­ing ensured that female stu­dents were giv­en greater free­dom, Moholy encour­aged one of them, Mar­i­anne Brandt, to join the met­al work­shop. She was to become one of Germany’s fore­most indus­tri­al design­ers dur­ing the 1930s,” and her 1924 tea infuser and strain­er appears just above.

Art­sy’s Alexxa Got­thardt has the sto­ries of more women of the Bauhaus, includ­ing Anni Albers, whose 1947 Knot 2 appears just above. Her oth­er work includes “a cot­ton and cel­lo­phane cur­tain that simul­ta­ne­ous­ly absorbed sound and reflect­ed light” and tapes­tries that “would go on to have a con­sid­er­able impact on the devel­op­ment of geo­met­ric abstrac­tion in the visu­al arts.” Alma Sied­hoff-Busch­er, writes Got­thardt, dared “to switch from the weav­ing work­shop to the male-dom­i­nat­ed wood-sculp­ture depart­ment,” where she invent­ed a “small ship-build­ing game,” pic­tured below and still in pro­duc­tion today, that “man­i­fest­ed Bauhaus’s cen­tral tenets: its 22 blocks, forged in pri­ma­ry col­ors, could be con­struct­ed into the shape of a boat, but could also be rearranged to allow for cre­ative exper­i­men­ta­tion.”

Bauhaus art and design took crit­i­cism in its hey­day, as it still takes crit­i­cism now, for a cer­tain cold­ness and steril­i­ty — or at least the work of the men of the Bauhaus does. But the more we dis­cov­er about the less­er-known women of the Bauhaus, the more we see how they man­aged to bring no small degree of human­i­ty to its artis­tic fruits, even to those of its most rig­or­ous branch­es. “There is no dif­fer­ence between the beau­ti­ful sex and the strong sex,” Gropius once insist­ed in a some­what self-defeat­ing pro­nounce­ment, but the dif­fer­ences between the male and female Bauhausers — in their per­son­al­i­ties as well as in their work — make the move­ment look all the rich­er in ret­ro­spect.

Relat­ed Con­tent:

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: Gropius, Klee, Kandin­sky, Moholy-Nagy & More

3,900 Pages of Paul Klee’s Per­son­al Note­books Are Now Online, Pre­sent­ing His Bauhaus Teach­ings (1921–1931)

Kandin­sky, Klee & Oth­er Bauhaus Artists Designed Inge­nious Cos­tumes Like You’ve Nev­er Seen Before

Watch an Avant-Garde Bauhaus Bal­let in Bril­liant Col­or, the Tri­adic Bal­let First Staged by Oskar Schlem­mer in 1922

32,000+ Bauhaus Art Objects Made Avail­able Online by Har­vard Muse­um Web­site

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

Why Cartoon Characters Wear Gloves: A Curious Trip Through the History of Animation

It’s rare for Dis­ney to over­look a mar­ket­ing oppor­tu­ni­ty. For years, Mouse Ears were the film studio’s theme park sou­venir of choice, but recent­ly the gift shops have start­ed stock­ing white four-fin­gered gloves too.

Per­haps not the most sen­si­ble choice for dip­ping into a buck­et of jalapeño pop­pers or a $6 Mick­ey Pret­zel with Cheese Sauce, but the gloves have unde­ni­able reach when it comes to car­toon his­to­ry. Bugs Bun­ny wears them. So does Woody Wood­peck­er, Tom (though not Jer­ry), and Bet­ty Boop’s anthro­po­mor­phic dog­gie pal, Bim­bo.

As Vox’s Estelle Caswell points out above, the choice to glove Mick­ey and his ear­ly 20th-cen­tu­ry car­toon brethren was born of prac­ti­cal­i­ty. The lim­it­ed palette of black and white ani­ma­tion meant that most ani­mal char­ac­ters had black bodies—their arms dis­ap­peared against every inky expanse.

It also pro­vid­ed artists with a bit of relief, back when ani­ma­tion meant end­less hours of labor over hand drawn cells. Puffy gloves aren’t just a com­i­cal cap­per to bendy rub­ber hose limbs. They’re also way eas­i­er to draw than real­is­tic pha­langes.

As Walt Dis­ney him­self explained:

We did­n’t want him to have mouse hands, because he was sup­posed to be more human. So we gave him gloves. Five Fin­gers looked like too much on such a lit­tle fig­ure, so we took one away. That was just one less fin­ger to ani­mate.

Caswell digs deep­er than that, unearthing a sur­pris­ing cul­tur­al com­par­i­son. White gloves were a stan­dard part of black­face per­form­ers’ min­strel show cos­tumes. Audi­ences who packed the­aters for tour­ing min­strel shows were the same peo­ple lin­ing up for Steam­boat Willie.

Com­ic ani­ma­tion has evolved both visu­al­ly and in terms of con­tent over its near hun­dred year his­to­ry, but ani­ma­tors have a ten­den­cy to revere the his­to­ry of their pro­fes­sion.

Thus­ly do South Park’s ani­ma­tors bestow spot­less white gloves upon Mr. Han­key the Christ­mas Poo.

“Amer­i­ca’s favorite cat and mouse team,” the Simp­sons’  Itchy and Scratchy, mete out their hor­rif­i­cal­ly vio­lent pun­ish­ment in pris­tine white gloves.

Clear­ly some things are worth pre­serv­ing…

Relat­ed Con­tent:

The Dis­ney Car­toon That Intro­duced Mick­ey Mouse & Ani­ma­tion with Sound (1928)

Disney’s 12 Time­less Prin­ci­ples of Ani­ma­tion Demon­strat­ed in 12 Ani­mat­ed Primers

Free Ani­mat­ed Films: From Clas­sic to Mod­ern 

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine, appear­ing onstage in New York City through June 26 in Paul David Young’s Faust 3. Fol­low her @AyunHalliday.

2,000-Year-Old Manuscript of the Ten Commandments Gets Digitized: See/Download “Nash Papyrus” in High Resolution

How old is the Torah, the first five books of the Hebrew Bible? As with most such ques­tions about dis­put­ed reli­gious texts, it depends on whom you ask. Many con­ser­v­a­tive Jew­ish and Chris­t­ian scholars—or “maximalists”—have long accept­ed the text as con­tain­ing gen­uine his­tor­i­cal records, and dat­ed them as ear­ly as pos­si­ble. Mod­ern crit­i­cal schol­ars, the “min­i­mal­ists,” informed by arche­ol­o­gy, have made strong empir­i­cal cas­es against his­toric­i­ty, and date the texts much lat­er.

These debates can become high­ly spec­u­la­tive the fur­ther back schol­ars attempt to push the Bib­li­cal ori­gins. One has to take cer­tain claims on faith. As far as the tex­tu­al evi­dence goes, the ear­li­est com­plete man­u­scripts we have are the so-called “Masoret­ic Text,” copied, edit­ed, and dis­sem­i­nat­ed between the 7th and 10th cen­turies CE. But we have frag­ments that date back over two thou­sand years, dis­cov­ered in the Qum­ran Caves among the Dead Sea Scrolls in the mid-twen­ti­eth cen­tu­ry. Pri­or to their dis­cov­ery, the old­est known frag­ment was known as the “Nash Papyrus,” which dates from the sec­ond cen­tu­ry, BCE.

Pur­chased from an Egypt­ian antiq­ui­ties deal­er in 1902 by Egyp­tol­o­gist Dr. Wal­ter Llewl­lyn Nash and donat­ed to the Cam­bridge Uni­ver­si­ty Library the fol­low­ing year, the papyrus con­tains a com­pos­ite of the two dif­fer­ent ver­sions of the Ten Com­mand­ments, from Exo­dus 20 and Deuteron­o­my 5, and the She­ma, a prayer from Deuteron­o­my 6. In 2012, the Nash Papyrus was dig­i­tized, “one of the lat­est trea­sures of human­i­ty,” report­ed Reuters, “to join Isaac Newton’s note­books, the Nurem­berg Chron­i­cle and oth­er rare texts as part of the Cam­bridge Dig­i­tal Library.”

“It has been sug­gest­ed,” notes the Cam­bridge descrip­tion of the ancient man­u­script, “that it is, in fact, from a phy­lac­tery (tefill­in, used in dai­ly prayer).” But the papyrus’ actu­al ori­gins are uncer­tain, though it “was said to have come from the Fayyum,” a city near Cairo. And while the Nash Papyrus may not resolve any debates about the Torah’s ori­gins, its open acces­si­bil­i­ty is a boon for schol­ars grap­pling with the ques­tions. As uni­ver­si­ty librar­i­an Anne Jarvis said upon its dig­i­tal release, the “age and del­i­ca­cy” of the man­u­script make it “sel­dom able to be viewed” in per­son. The leaf papyrus is, as the Cam­bridge Dig­i­tal Library notes, full of holes, “bare­ly leg­i­ble” and com­posed of “four sep­a­rate pieces fixed togeth­er.”

At the library site, users can see it in high res­o­lu­tion, zoom­ing in very close­ly to any area they choose. You can also down­load the image, embed it, or share it on social media. And if that gets your ancient Bib­li­cal engines run­ning, you can then see dig­i­tal Dead Sea Scroll man­u­scripts of the Ten Com­mand­ments here and get an up close look at many oth­er texts from that ancient trea­sure trove—as well as learn about them in a free online Rut­gers course—here.

Relat­ed Con­tent:

Google Dig­i­tizes Ancient Copies of the Ten Com­mand­ments and Gen­e­sis

Google Puts The Dead Sea Scrolls Online (in Super High Res­o­lu­tion)

Har­vard Presents Two Free Online Cours­es on the Old Tes­ta­ment

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

Carl Sagan Sent Music & Photos Into Space So That Aliens Could Understand Human Civilization (Even After We’re Gone)

A pop­u­lar thought exper­i­ment asks us to imag­ine an advanced alien species arriv­ing on Earth, not in an H.G. Wells-style inva­sion, but as advanced, bemused, and benev­o­lent observers. “Wouldn’t they be appalled,” we won­der, “shocked, con­fused at how back­ward we are?” It’s a pure­ly rhetor­i­cal device—the sec­u­lar equiv­a­lent of tak­ing a “god’s eye view” of human fol­ly. Few peo­ple seri­ous­ly enter­tain the pos­si­bil­i­ty in polite com­pa­ny. Unless they work at NASA or the SETI pro­gram.

In 1977, upon the launch­ing of Voy­ager 1 and Voy­ager 2, a com­mit­tee work­ing under Carl Sagan pro­duced the so-called “Gold­en Records,” actu­al phono­graph­ic LPs made of cop­per con­tain­ing “a col­lec­tion of sounds and images,” writes Joss Fong at Vox, “that will prob­a­bly out­last all human arti­facts on Earth.” While they weren’t prepar­ing for a vis­i­ta­tion on Earth, they did—relying not on wish­ful think­ing but on the con­tro­ver­sial Drake Equa­tion—ful­ly expect that oth­er tech­no­log­i­cal civ­i­liza­tions might well exist in the cos­mos, and assumed a like­li­hood we might encounter one, at least via remote.

Sagan tasked him­self with com­pil­ing what he called a “bot­tle” in “the cos­mic ocean,” and some­thing of a time cap­sule of human­i­ty. Over a year’s time, Sagan and his team col­lect­ed 116 images and dia­grams, nat­ur­al sounds, spo­ken greet­ings in 55 lan­guages, print­ed mes­sages, and musi­cal selec­tions from around the world–things that would com­mu­ni­cate to aliens what our human civ­i­liza­tion is essen­tial­ly all about. The images were encod­ed onto the records in black and white (you can see them all in the Vox video above in col­or). The audio, which you can play in its entire­ty below, was etched into the sur­face of the record. On the cov­er were etched a series of pic­to­graph­ic instruc­tions for how to play and decode its con­tents. (Scroll over the inter­ac­tive image at the top to see each sym­bol explained.)

Fong out­lines those con­tents, writ­ing, “any aliens who come across the Gold­en Record are in for a treat.” That is, if they are able to make sense of it and don’t find us hor­ri­bly back­ward. Among the audio selec­tions are greet­ings from then-UN Sec­re­tary Gen­er­al Kurt Wald­heim, whale songs, Bach’s Bran­den­berg Con­cer­to No. 2 in F, Sene­galese per­cus­sion, Abo­rig­ine songs, Peru­vian pan­pipes and drums, Nava­jo chant, Blind Willie Johnson’s “Dark Was the Night” (play­ing in the Vox video), more Bach, Beethoven, and “John­ny B. Goode.” Chal­lenged over includ­ing “ado­les­cent” rock and roll, Sagan replied, “there are a lot of ado­les­cents on the plan­et.” The Bea­t­les report­ed­ly want­ed to con­tribute “Here Comes the Sun,” but their record com­pa­ny wouldn’t allow it, pre­sum­ably fear­ing copy­right infringe­ment from aliens.

Also con­tained in the space­far­ing archive is a mes­sage from then-pres­i­dent Jim­my Carter, who writes opti­misti­cal­ly, “We are a com­mu­ni­ty of 240 mil­lion human beings among the more than 4 bil­lion who inhab­it plan­et Earth. We human beings are still divid­ed into nation states, but these states are rapid­ly becom­ing a sin­gle glob­al civ­i­liza­tion.” The mes­sages on Voy­agers 1 and 2, Carter fore­casts, are “like­ly to sur­vive a bil­lion years into our future, when our civ­i­liza­tion is pro­found­ly altered and the sur­face of the Earth may be vast­ly changed.” The team chose not to include images of war and human cru­el­ty.

We only have a few years left to find out whether either Voy­ager will encounter oth­er beings. “Incred­i­bly,” writes Fong, the probes “are still com­mu­ni­cat­ing with Earth—they aren’t expect­ed to lose pow­er until the 2020s.” It seems even more incred­i­ble, forty years lat­er, when we con­sid­er their prim­i­tive tech­nol­o­gy: “an 8‑track mem­o­ry sys­tem and onboard com­put­ers that are thou­sands of times weak­er than the phone in your pock­et.”

The Voy­agers were not the first probes sent to inter­stel­lar space. Pio­neer 10 and 11 were launched in 1972 and 1973, each con­tain­ing a Sagan-designed alu­minum plaque with a few sim­ple mes­sages and depic­tions of a nude man and woman, an addi­tion that scan­dal­ized some puri­tan­i­cal crit­ics. NASA has since lost touch with both Pio­neers, but you may recall that in 2006, the agency launched the New Hori­zons probe, which passed by Plu­to in 2015 and should reach inter­stel­lar space in anoth­er thir­ty years.

Per­haps due to the lack of the depart­ed Sagan’s involve­ment, the lat­est “bot­tle” con­tains no intro­duc­tions. But there is time to upload some, and one of the Gold­en Record team mem­bers, Jon Lomberg, wants to do just that, send­ing a crowd­sourced “mes­sage to the stars.” Lomberg’s New Horizon’s Mes­sage Ini­tia­tive is a “glob­al project that brings the peo­ple of the world togeth­er to speak as one.” The lim­i­ta­tions of ana­log tech­nol­o­gy have made the Gold­en Record selec­tions seem quite nar­row from our data-sat­u­rat­ed point of view. The new mes­sage might con­tain almost any­thing we can imag­ine. Vis­it the pro­jec­t’s site to sign the peti­tion, donate, and con­sid­er, just what would you want an alien civ­i­liza­tion to hear, see, and under­stand about the best of human­i­ty cir­ca 2017?

via Ezra Klein/Vox

Relat­ed Con­tent:

Carl Sagan Presents a Mini-Course on Earth, Mars & What’s Beyond Our Solar Sys­tem: For Kids and Adults (1977)

NASA Releas­es a Mas­sive Online Archive: 140,000 Pho­tos, Videos & Audio Files Free to Search and Down­load

NASA’s New Online Archive Puts a Wealth of Free Sci­ence Arti­cles Online

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

London in Vivid Color 125 Years Ago: See Trafalgar Square, the British Museum, Tower Bridge & Other Famous Landmarks in Photocrom Prints

“When a man is tired of Lon­don,” Samuel John­son so famous­ly said, “he is tired of life.” Of course, P.J. O’Rourke lat­er added that “he might just be tired of shab­by, sad crowds, low-income hous­ing that looks worse than the weath­er, and tat­too-faced, spike-haired pea brains on the dole,” but then, every­one expe­ri­ences the Eng­lish cap­i­tal a bit dif­fer­ent­ly. John­son’s Lon­don, the Lon­don of the eigh­teenth cen­tu­ry, looks to some like a city at its zenith; oth­ers might even think the same about the Lon­don O’Rourke made fun of in the 1980s. Every era in Lon­don is a gold­en age to some­one.

Today, we offer a vivid glimpse into anoth­er dis­tinct peri­od in Lon­don his­to­ry, the late nine­teenth cen­tu­ry, by way of the Library of Con­gress’ col­lec­tion of pho­tocrom prints. A few years ago we fea­tured images of Venice cap­tured with the same col­orized-pho­tog­ra­phy process, which pro­duced what the Library of Con­gress describes as ink-based images made with “the direct pho­to­graph­ic trans­fer of an orig­i­nal neg­a­tive onto litho and chro­mo­graph­ic print­ing plates.”

They may “look decep­tive­ly like col­or pho­tographs,” but “when viewed with a mag­ni­fy­ing glass the small dots that com­prise the ink-based pho­to­me­chan­i­cal image are vis­i­ble. The pho­to­me­chan­i­cal process per­mit­ted mass pro­duc­tion of the vivid col­or prints.”

The late nine­teenth and ear­ly twen­ti­eth cen­tu­ry saw the emer­gence of a robust mar­ket for pho­tocrom prints, “sold at tourist sites and through mail order cat­a­logs to globe trot­ters, arm­chair trav­el­ers, edu­ca­tors, and oth­ers to pre­serve in albums or put on dis­play.” Hence, per­haps, the focus on Lon­don sites of touris­tic appeal: Tow­er Bridge, Trafal­gar Square, the British Muse­um, and even the ful­ly out­fit­ted “Yeo­man of the Guard” you see just above. But print also (and by appear­ances more cor­rect­ly) describes him as a “Beefeater,” the pop­u­lar name for the dif­fer­ent body of cer­e­mo­ni­al tow­er guardians the Yeomen Warders of Her Majesty’s Roy­al Palace and Fortress the Tow­er of Lon­don, and Mem­bers of the Sov­er­eign’s Body Guard of the Yeo­man Guard Extra­or­di­nary. (Got that?)

You can browse, and in var­i­ous for­mats down­load, the 33 images in the Library of Con­gress’ Lon­don pho­tocrom print col­lec­tion here. They all date from between 1890 and 1900, as do the near­ly 1000 images in their Eng­land pho­tocrom print col­lec­tion, whose loca­tions extend far beyond Lon­don. Go to Eng­land today and you’ll notice how much has changed in the past 125 or so years, of course, but how much has­n’t. Grum­bling being some­thing of a nation­al sport over there, espe­cial­ly in Lon­don, the trav­el­er hears no end of com­plaints about how the city and coun­try have gone to the dogs, but can also take some com­fort in the fact that, even back in the pic­turesque pho­tocrom era, peo­ple were air­ing all the same gripes.

Relat­ed Con­tent:

Prize-Win­ning Ani­ma­tion Lets You Fly Through 17th Cen­tu­ry Lon­don

1927 Lon­don Shown in Mov­ing Col­or

Lon­don Mashed Up: Footage of the City from 1924 Lay­ered Onto Footage from 2013

2,000 Years of London’s His­tor­i­cal Devel­op­ment, Ani­mat­ed in 7 Min­utes

Venice in Beau­ti­ful Col­or Images 125 Years Ago: The Rial­to Bridge, St. Mark’s Basil­i­ca, Doge’s Palace & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

The CIA Assesses the Power of French Post-Modern Philosophers: Read a Newly Declassified CIA Report from 1985

We might assume that phi­los­o­phy is an ivory tow­er dis­ci­pline that has lit­tle effect on the unlove­ly oper­a­tions of gov­ern­ment, dri­ven as they are by the con­cerns of mid­dle class wal­lets, upper class stock port­fo­lios, and the ever-present prob­lem of pover­ty. But we would be wrong. In times when pres­i­dents, cab­i­net mem­bers, or sen­a­tors have been thought­ful and well-read, the ideas of thinkers like Fran­cis Fukuya­ma, Leo Strauss, Jur­gen Haber­mas, and John Rawls—a favorite of the pre­vi­ous pres­i­dent—have exer­cised con­sid­er­able sway. Few philoso­phers have been as his­tor­i­cal­ly influ­en­tial as the Ger­man thinker Carl Schmitt, though in a thor­ough­ly destruc­tive way. Then there’s John Locke, Jean-Jacques Rousseau, Thomas Hobbes, Aris­to­tle… even Socrates, who made him­self a thorn in the side of the pow­er­ful.

But when it comes to the most­ly French school of thinkers we asso­ciate with postmodernism—Michel Fou­cault, Roland Barthes, the Jacques Lacan and Der­ri­da, and many others—such influ­ence is far less direct. The work of these writ­ers has been often dis­missed as friv­o­lous and incon­se­quen­tial, speak­ing a lan­guage no one under­stands to out of touch coastal elites on the left edge of the spec­trum. Per­haps this is so in the Unit­ed States, where pow­er is often the­o­rized but rarely rad­i­cal­ly cri­tiqued in main­stream pub­li­ca­tions. But it has not been so in France. At least not accord­ing to the CIA, who close­ly mon­i­tored the effects of French phi­los­o­phy on the coun­try’s domes­tic and for­eign pol­i­cy dur­ing their long-run­ning cul­ture war against Com­mu­nism and “anti-Amer­i­can­ism,” and who, in 1985, com­piled a research paper to doc­u­ment their inves­ti­ga­tions. (See a sam­ple page above.)

Recent­ly made avail­able to the pub­lic in a “san­i­tized copy” through a Free­dom of Infor­ma­tion Act request, the doc­u­ment, titled “France: Defec­tion of the Left­ist Intel­lec­tu­als,” shows itself sur­pris­ing­ly approv­ing of the polit­i­cal direc­tion post-struc­tural­ist thinkers had tak­en. **************@*******va.edu&xsl=bio_long”>Villanova Uni­ver­si­ty pro­fes­sor of phi­los­o­phy and author of Rad­i­cal His­to­ry and the Pol­i­tics of Art Gabriel Rock­hill sum­ma­rizes the tenor of the agency’s assess­ment in the L.A. Review of Books’ Philo­soph­i­cal Salon:

…the under­cov­er cul­tur­al war­riors applaud what they see as a dou­ble move­ment that has con­tributed to the intel­li­gentsia shift­ing its crit­i­cal focus away from the US and toward the USSR. On the left, there was a grad­ual intel­lec­tu­al dis­af­fec­tion with Stal­in­ism and Marx­ism, a pro­gres­sive with­draw­al of rad­i­cal intel­lec­tu­als from pub­lic debate, and a the­o­ret­i­cal move away from social­ism and the social­ist par­ty. Fur­ther to the right, the ide­o­log­i­cal oppor­tunists referred to as the New Philoso­phers and the New Right intel­lec­tu­als launched a high-pro­file media smear cam­paign against Marx­ism.

The “spir­it of anti-Marx­ism and anti-Sovi­etism,” write the agents in their report, “will make it dif­fi­cult for any­one to mobi­lize sig­nif­i­cant intel­lec­tu­al oppo­si­tion to US poli­cies.” The influ­ence of “New Left intel­lec­tu­als” over French cul­ture and gov­ern­ment was such, they sur­mised, that “Pres­i­dent [Fran­cois] Mitterrand’s notable cool­ness toward Moscow derives, at least in part, from this per­va­sive atti­tude.”

These obser­va­tions stand in con­trast to the pre­vi­ous gen­er­a­tion of “left-lean­ing intel­lec­tu­als of the imme­di­ate post­war peri­od,” writes Rock­hill, who “had been open­ly crit­i­cal of US impe­ri­al­ism” and active­ly worked against the machi­na­tions of Amer­i­can oper­a­tives. Jean-Paul Sartre even played a role in “blow­ing the cov­er of the CIA sta­tion offi­cer in Paris and dozens of under­cov­er oper­a­tives,” and as a result was “close­ly mon­i­tored by the Agency and con­sid­ered a very seri­ous prob­lem.” By the mid-eight­ies, the Agency stat­ed, tri­umphant­ly, “there are no more Sartres, no more Gides.” The “last clique of Com­mu­nist savants,” they write, “came under fire from their for­mer pro­teges, but none had any stom­ach for fight­ing a rear­guard defense of Marx­ism.” As such, the late Cold War peri­od saw a “broad­er retreat from ide­ol­o­gy among intel­lec­tu­als of all polit­i­cal col­ors.”

A cer­tain weari­ness had tak­en hold, brought about by the inde­fen­si­ble total­i­tar­i­an abus­es of the “cult of Stal­in­ism” and the seem­ing inescapa­bil­i­ty of the Wash­ing­ton Con­sen­sus and the multi­na­tion­al cor­po­ratism engen­dered by it. By the time of Communism’s col­lapse, U.S. philoso­phers waxed apoc­a­lyp­tic, even as they cel­e­brat­ed the tri­umph of what Fran­cis Fukuya­ma called “lib­er­al democ­ra­cy” over social­ism. Fukuyama’s book The End of His­to­ry and the Last Man made its star­tling the­sis plain in the title. There would be no more rev­o­lu­tions. Har­vard thinker Samuel Hunt­ing­ton declared it the era of “endism,” amidst a rash of hyper­bol­ic argu­ments about “the end of art,” the “end of nature,” and so on. And, in France, in the years just pri­or to the fall of the Berlin wall, the pre­vi­ous­ly vig­or­ous philo­soph­i­cal left, the CIA believed, had “suc­cumbed to a kind of list­less­ness.”

While the agency cred­it­ed the dif­fi­dence of post-struc­tural­ist philoso­phers with sway­ing pop­u­lar opin­ion away from social­ism and “hard­en­ing pub­lic atti­tudes toward Marx­ism and the Sovi­et Union,” it also wrote that “their influ­ence appears to be wan­ing, and they are unlike­ly to have much direct impact on polit­i­cal affairs any time soon.” Is this true? If we take seri­ous­ly crit­ics of so-called “Iden­ti­ty Pol­i­tics,” the answer is a resound­ing No. As those who close­ly iden­ti­fy post­mod­ern phi­los­o­phy with sev­er­al recent waves of left­ist thought and activism might argue, the CIA was short­sight­ed in its con­clu­sions. Per­haps, bound to a Manichean view fos­tered by decades of Cold War maneu­ver­ing, they could not con­ceive of a pol­i­tics that opposed both Amer­i­can and Sovi­et empire at once.

And yet, the retreat from ide­ol­o­gy was hard­ly a retreat from pol­i­tics. We might say, over thir­ty years since this curi­ous research essay cir­cu­lat­ed among intel­li­gence gath­er­ers, that con­cepts like Foucault’s biopow­er or Derrida’s skep­ti­cal inter­ro­ga­tions of iden­ti­ty have more cur­ren­cy and rel­e­vance than ever, even if we don’t always under­stand, or read, their work. But while the agency may not have fore­seen the per­va­sive impact of post­mod­ern thought, they nev­er dis­missed it as obscu­ran­tist or incon­se­quen­tial sophistry. Their new­ly-released report, writes Rock­hill, “should be a cogent reminder that if some pre­sume that intel­lec­tu­als are pow­er­less, and that our polit­i­cal ori­en­ta­tions do not mat­ter, the orga­ni­za­tion that has been one of the most potent pow­er bro­kers in con­tem­po­rary world pol­i­tics does not agree.”

Relat­ed Con­tent:

12 Mil­lion Declas­si­fied CIA Doc­u­ments Now Free Online: Secret Tun­nels, UFOs, Psy­chic Exper­i­ments & More

How the CIA Secret­ly Fund­ed Abstract Expres­sion­ism Dur­ing the Cold War

Michel Fou­cault: Free Lec­tures on Truth, Dis­course & The Self (UC Berke­ley, 1980–1983)

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Yale Course

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

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