The Most Controversial Ancient Philosophy: Epicureanism

Over the years, you’ve prob­a­bly heard at least a few peo­ple casu­al­ly describe them­selves as Epi­cure­ans. As used today, the label can refer to as lit­tle as enjoy­ing the occa­sion­al expen­sive restau­rant meal. The bar was a bit high­er in the sec­ond cen­tu­ry, as explained by ancient-his­to­ry YouTu­ber Gar­rett Ryan in the new video above from his chan­nel Told in Stone. But there is, at least, one major aspect of the orig­i­nal doc­trine laid out by Epi­cu­rus (341–270 BC) with which most any of his self-styled fol­low­ers in our time would agree: that plea­sure is the great­est good. Whether they would fol­low that premise all the way to the con­clu­sions Epi­cu­rus did is anoth­er mat­ter.

For that ancient Greek philoso­pher, Ryan explains, “hap­pi­ness was the sole legit­i­mate goal of human exis­tence. The essence of hap­pi­ness is free­dom from anx­i­ety. Since the great­est source of men­tal dis­tur­bance is fear about death and the after­life, it is nec­es­sary to under­stand the true nature of the uni­verse.”

There­after come the prin­ci­ples about atoms drift­ing through the infi­nite void, a sub­ject of less inter­est to many twen­ty-first cen­tu­ry “Epi­cure­ans” than the mechan­ics of the Williams-Sono­ma rewards pro­gram. Still, they would do well to learn at least one rel­e­vant Greek term: atarax­ia, or the “tran­quil­i­ty that comes from being suf­fi­cient in one­self.”

Achiev­ing atarax­ia is not a mat­ter of mere­ly indulging the sens­es. Rather, “all sources of unnec­es­sary men­tal dis­tur­bance should be removed.” That means no pol­i­tics and prob­a­bly no mar­riage, though friend­ship is accept­able. Though fair­ly ascetic in its orig­i­nal form, Epi­cure­anism drew quite a few high-pro­file Romans as adher­ents — and as detrac­tors. No less a fig­ure than Cicero, for exam­ple, attacked both its oppo­si­tion to tra­di­tion­al Roman reli­gion and, per­haps pre­dictably, its iso­la­tion from pub­lic life. Plutarch went so far as to write anti-Epi­cure­an trea­tis­es, includ­ing one titled “It Is Not Pos­si­ble to Live Plea­sur­ably Accord­ing to the Doc­trines of Epi­cu­rus.” That may or may not be true by our mod­ern stan­dards, but the ques­tion is worth con­tem­plat­ing over a good din­ner.

Relat­ed Con­tent:

Alain de Botton’s School of Life Presents Ani­mat­ed Intro­duc­tions to Hei­deg­ger, The Sto­ics & Epi­cu­rus

A Guide to Hap­pi­ness: Alain de Botton’s Doc­u­men­tary Shows How Niet­zsche, Socrates & 4 Oth­er Philoso­phers Can Change Your Life

An Ani­mat­ed Intro­duc­tion to Sto­icism, the Ancient Greek Phi­los­o­phy That Lets You Lead a Hap­py, Ful­fill­ing Life

An Entire Ancient Greek Philo­soph­i­cal Trea­tise Burned by Mount Vesu­vius Has Been Deci­phered with X‑Ray and AI Tech­nolo­gies

Memen­to Mori: How Smil­ing Skele­tons Have Remind­ed Us to Live Ful­ly Since Ancient Times

How 99% of Ancient Lit­er­a­ture Was Lost

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How the Beatles Made their Most Acclaimed Album, Revolver, Released 60 Years Ago This Month

Among Bea­t­les con­nois­seurs, it’s fair game to claim any­thing from Rub­ber Soul to Abbey Road as one’s favorite album. But even with­in that span of the cat­a­log, a hier­ar­chy of acclaim exists, and that hier­ar­chy has been rearranged over the decades. The ecsta­t­ic recep­tion of Sgt. Pepper’s Lone­ly Hearts Club Band last­ed at least a decade. By the turn of the nine­teen-eight­ies, its imme­di­ate pre­de­ces­sor Revolver had joined it at the top spot of crit­i­cal regard; twen­ty years after that, Abbey Road had dis­placed Sgt. Pep­per. Now, a full 60 years after it first came out, Revolver is the sin­gle Bea­t­les album held in the high­est esteem — which, nat­u­ral­ly, makes it a seri­ous con­tender for the great­est album ever record­ed.

In his new video above, music YouTu­ber David Hart­ley explains what makes Revolver so beloved by recount­ing the his­to­ry of its pro­duc­tion. As in his pre­vi­ous Bea­t­les videos, he draws on the library of stu­dio out­takes that make audi­ble the evo­lu­tion of each song, as well as on con­tem­po­rary inter­views with the Bea­t­les and their col­lab­o­ra­tors.

Among his most illu­mi­nat­ing sources is engi­neer Geoff Emer­ick­’s mem­oir Here, There, and Every­where — titled, inci­den­tal­ly after one of the songs on this very album, the chal­lenge of whose record­ing he took on at just twen­ty years old. In the event, his youth proved an asset, grant­i­ng him as it did the will­ing­ness not just to exe­cute the Bea­t­les’ “far-out” son­ic ideas, but also to vio­late EMI Stu­dios’ poli­cies against exper­i­men­tal use of its hard­ware in the process.

Indeed, if it was pos­si­ble in 1966, it seems to have been tried in the mak­ing of Revolver. As Hart­ley reveals, “I’m Only Sleep­ing” once fea­tured a vibra­phone, “Yel­low Sub­ma­rine” once began with a spo­ken-word intro, and “And Your Bird Can Sing” once kept get­ting inter­rupt­ed by uncon­trol­lable and quite pos­si­bly sub­stance-induced laugh­ter. Nei­ther these nor any of the album’s oth­er now-famil­iar, much-scru­ti­nized songs took straight paths to their final forms. Into a run­time of only 35 min­utes, the Bea­t­les man­aged to put every­thing from “a chil­dren’s sin­ga­long song” to “a song com­plain­ing about all the mon­ey they were pay­ing in tax­es” to “a song about lone­li­ness” to “a song about lazi­ness” — while also trans­mit­ting the “great feel­ing of joy” for which their oeu­vre is known. Revolver’s place in the canon of albums is secure, but will it still be con­sid­ered the band’s best work on its 70th anniver­sary? Tomor­row, as they say, nev­er knows.

Relat­ed con­tent:

How the Bea­t­les Wrote Their Songs: From Ear­ly Demos to Final Record­ings

Tomor­row Nev­er Knows: How The Bea­t­les Invent­ed the Future With Stu­dio Mag­ic, Tape Loops & LSD

Is “Rain” the Per­fect Bea­t­les Song?: A New Video Explores the Rad­i­cal Inno­va­tions of the 1966 B‑Side

The World’s Great­est Song That Sim­ply Shouldn’t Exist: The Mak­ing of The Bea­t­les’ “A Day in the Life”

The Bea­t­les’ 8 Pio­neer­ing Inno­va­tions: A Video Essay Explor­ing How the Fab Four Changed Pop Music

The Kinks’ Ray Davies Reviews the Bea­t­les’ 1966 Album Revolver; Calls It “A Load of Rub­bish”

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How the Bird Sound Effects in Alfred Hitchcock’s The Birds Were Created with a Pioneering Electronic Instrument, the Trautonium

Alfred Hitch­cock­’s The Birds was nom­i­nat­ed for an Acad­e­my Award for Best Spe­cial Effects, though view­ers raised on more recent Hol­ly­wood spec­ta­cles would hard­ly find its mech­a­nized and opti­cal­ly print­ed avian attack­ers con­vinc­ing. Still, the pic­ture as a whole has retained its eerie, omi­nous pow­er over the last six decades, and a decent amount of the cred­it for that goes to an aspect that has­n’t dat­ed at all: its non-musi­cal “score” by the ear­ly elec­tron­ic com­pos­er Oskar Sala. Many of the threat­en­ing bird calls on the sound­track were actu­al­ly played by Sala on a device called the Mix­tur-Trau­to­ni­um, a pre-syn­the­siz­er orches­tral elec­tron­ic instru­ment of which he was­n’t just the undis­put­ed mas­ter, but the only play­er in exis­tence.

After his accep­tance into the Berlin Con­ser­va­to­ry in 1929, Sala came into con­tact with the Trau­to­ni­um, which had recent­ly been invent­ed by one Dr. Friedrich Trautwein. Inspired to more deeply under­stand the prin­ci­ples behind the nascent tech­nol­o­gy of elec­tron­ic music, and to fur­ther it, he went on to study physics at the Uni­ver­si­ty of Berlin in the mid-nine­teen-thir­ties.

This posi­tioned him well to devel­op new mod­els of Trau­to­ni­um, a series that cul­mi­nat­ed in 1948 with the Mix­tur-Trau­to­ni­um, which, unlike Trautwein’s mono­phon­ic orig­i­nal, could sound mul­ti­ple voic­es at once. The instru­ment proved ver­sa­tile, and indeed com­mer­cial: any Ger­man who grew up in the nine­teen-fifties will remem­ber its sounds from tele­vi­sion adver­tise­ments.

The chance to work on The Birds, by far Sala’s most wide­ly heard sound­track work, “pre­sent­ed itself when a for­mer class­mate of Sala who worked at Uni­ver­sal Stu­dios in Hol­ly­wood heard that Hitch­cock want­ed syn­thet­i­cal­ly pro­duced bird sounds for his next movie,” says Google Arts & Cul­ture. “Hitch­cock, who delib­er­ate­ly want­ed to avoid cre­at­ing tra­di­tion­al movie music, even flew to Sala’s record­ing stu­dio in Berlin where he was impressed by the sounds made by the Trau­to­ni­um, which ulti­mate­ly pro­duced all the movie’s sound effects.” In col­lab­o­ra­tion with fel­low pio­neer­ing elec­tron­ic com­pos­er Remi Gassmann, Sala pro­duced a ver­i­ta­ble storm of not just avian shrieks and cack­les, but also the harsh swirl of the ele­ments and the creaks and groans of fail­ing man-made infra­struc­ture. Or at least that’s what movie­go­ers may imag­ine hear­ing in a sound­track that often verges on the oth­er­world­ly, even the abstract — and Hitch­cock knew that the imag­i­na­tion is the place from which real fear aris­es.

Relat­ed Con­tent:

Alfred Hitch­cock Explains the Dif­fer­ence Between Sus­pense & Sur­prise: Give the Audi­ence Some Infor­ma­tion & Leave the Rest to Their Imag­i­na­tion

5 Hours of Free Alfred Hitch­cock Inter­views: Dis­cov­er His The­o­ries of Film Edit­ing, Cre­at­ing Sus­pense & More

Watch “Bells of Atlantis,” an Exper­i­men­tal Film with Ear­ly Elec­tron­ic Music Fea­tur­ing Anaïs Nin (1952)

Daphne Oram Cre­at­ed the BBC’s First-Ever Piece of Elec­tron­ic Music (1957)

The Scores That Elec­tron­ic Music Pio­neer Wendy Car­los Com­posed for Stan­ley Kubrick’s A Clock­work Orange and The Shin­ing

Hear the Evo­lu­tion of Elec­tron­ic Music: A Son­ic Jour­ney from 1929 to 2019

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The History of Glam Rock and How It Put an End to the Hippie Era

Cast your mind back to the dis­tant year 2021 and recall, if you will, its music, its fash­ions, the obses­sions of its youth. This prob­a­bly won’t be a dif­fi­cult task, since in most respects — the damp­en­ing effects of the pan­dem­ic notwith­stand­ing — none of those aspects of pop­u­lar cul­ture seem any dif­fer­ent today. Yet rough­ly the same time span sep­a­rat­ed Scott McKen­zie’s “San Fran­cis­co (Be Sure to Wear Flow­ers in Your Hair)” and David Bowie’s “Star­man.” 1967 was the year of the Sum­mer of Love; by 1972, accord­ing to most reck­on­ings, the cul­tur­al era known as the Six­ties was, if not quite over, then at least clear­ly in its final days. The hip­pies were on their way down, and glam rock­ers had arisen to take their place with a vengeance.

In less than half an hour, the new video from Band­splain­ing tells the whole sto­ry of glam rock, “the gen­der-bend­ing pro­to-punk move­ment that was hat­ed by the press and crim­i­nal­ly under­played in the U.S.” It begins in the 1970s, a time when the mar­ket for long-play­ing records was robust, but sin­gles had fall­en behind as a youth-ori­ent­ed pop-cul­tur­al form.

Into that vac­u­um stepped T. Rex, a one­time avant-garde folk duo rein­vent­ed as a straight-ahead rock band bent on reviv­ing that genre as it row­di­ly was before the Bea­t­les came along. When they hit it big, oth­er acts imi­tat­ed not just their bluesy sound, but the androg­y­nous, brazen­ly fab­ri­ca­tion-for­ward image of front­man Marc Bolan. Prac­ti­cal­ly overnight, the name of the game changed from earnest self-expres­sion to out­landish self-cre­ation.

Oth­er bands reshaped by this glam rock move­ment, as it was soon dubbed in the British media, includ­ed Slade, The Sweet, and Mott the Hoople. “My broth­er’s back at home with his Bea­t­les and his Stones,” sang that last out­fit in their break­out hit. “We nev­er got it off on that rev­o­lu­tion stuff.” That song, “All the Young Dudes,” had been writ­ten by the sin­gle most defin­ing glam-rock fig­ure: David Bowie, who him­self shot to promi­nence in the thor­ough­ly anti-Six­ties guise of Zig­gy Star­dust, the bisex­u­al, syn­thet­ics-clad rock­er from out­er space who swag­gered as if already famous across the uni­verse. With­in a few years, Bowie’s anten­na for the zeit­geist would have him retir­ing Zig­gy Star­dust and ditch­ing glam rock, a genre whose flame burned as bril­liant­ly — and indeed gar­ish­ly — as it did briefly. But in pop music, its char­ac­ter­is­tic lack of sociopo­lit­i­cal ideals, obses­sion with fame, and casu­al rela­tion­ship with real­i­ty were here to stay.

Relat­ed con­tent:

Zig­gy Star­dust Turns 50: Cel­e­brate David Bowie’s Sig­na­ture Char­ac­ter with a New­ly Released Ver­sion of “Star­man”

Watch David Bowie Per­form “Star­man” on Top of the Pops: Vot­ed the Great­est Music Per­for­mance Ever on the BBC (1972)

David Bowie’s Final Gig as Zig­gy Star­dust Doc­u­ment­ed in 1973 Con­cert Film

Fred­die Mer­cury: The Untold Sto­ry of the Singer’s Jour­ney From Zanz­ibar to Star­dom

Meet the Char­ac­ters Immor­tal­ized in Lou Reed’s “Walk on the Wild Side”: The Stars and Gay Rights Icons from Andy Warhol’s Fac­to­ry Scene

The His­to­ry of Rock Told in a Whirl­wind 15-Minute Video

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How Ancient Greek Warships Worked: The Engineering of the Trireme Explained in 3D Animation

Recall, if you will, the first time you read Book 2 of Home­r’s Ili­ad. The sec­tion like­ly to have giv­en you the most trou­ble — unless, of course, you’re blessed with an obses­sive inter­est in ancient naval war­fare — is the much-remarked-upon Cat­a­logue of Ships, a run­down of not just the con­tin­gents of the Achaean army sail­ing to Troy, but also the ships they’re doing it in. How­ev­er evoca­tive Home­r’s poet­ry, more than a few mod­ern read­ers may face a cer­tain dif­fi­cul­ty imag­in­ing ancient Greek ves­sels for them­selves. For­tu­nate­ly for them, the YouTube chan­nel Decon­struct­ed recent­ly put out the video above, which uses 3D imagery to explain the work­ings of an entire trireme, part by his­tor­i­cal­ly accu­rate part.

And what is a trireme? Two and a half mil­len­nia ago, says the video’s nar­ra­tor, it was “the most pow­er­ful war­ship in the Mediter­ranean.” This despite the fact that it had “no engine, no can­nons, and no heavy armor”: just “a nar­row wood­en hull, a bronze ram, and 170 men row­ing in per­fect rhythm.”

Wel­come to ancient Greece, where raw, syn­chro­nized man­pow­er could win a major war. Named for the “three super­im­posed tiers of one-man oars on each side of the ves­sel,” the trireme “pushed the tech­no­log­i­cal lim­its of the ancient world, with every part of its design opti­mized for speed and maneu­ver­abil­i­ty.” So swift was its accel­er­a­tion, regard­less of wind con­di­tions, that a sin­gle strike of its bronze ram could prove deci­sive.

Among the most effec­tive maneu­vers for a fleet of triremes were the diek­plous, in which the ships “rode through gaps in the ene­my for­ma­tion, then turned to attack the exposed sterns of oppos­ing ships,” and the periplous, in which they sailed “around the ene­my line to attack from the side or rear.” Not that Homer had rea­son to sing of such tac­tics, at least as per­formed by triremes, which were only put into use in the sev­enth cen­tu­ry BC. That was five or six hun­dred years after the notion­al peri­od of the leg­endary Tro­jan War, which, as the Ili­ad tells us, involved tri­a­con­ters and pen­te­con­ters, ships pro­pelled by a mere 30 to 50 oars­men as against the 170 stacked into the trireme. Even in those days, as Home­r’s con­tem­po­rary lis­ten­ers would have felt, tech­nol­o­gy was march­ing on — with the tech­nol­o­gy of war at the fore­front.

Relat­ed con­tent:

Ancient Greek Armor Gets Test­ed in an 11-Hour Bat­tle Sim­u­la­tion Inspired by the Ili­ad

An Ani­mat­ed Intro­duc­tion to the Antikythera Mech­a­nism: The World’s First Ana­log Com­put­er from Ancient Greece

The Roman Colos­se­um Decon­struct­ed: 3D Ani­ma­tion Reveals the Hid­den Tech­nol­o­gy That Pow­ered Rome’s Great Are­na

How a 16th-Cen­tu­ry Explorer’s Sail­ing Ship Worked: An Ani­mat­ed Video Takes You on a Com­pre­hen­sive Tour

How an Ancient Roman Ship­wreck Could Explain the Uni­verse

Hear the First Book of Homer’s Ili­ad Read Aloud in the Orig­i­nal Greek

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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 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 been get­ting their his­tor­i­cal due, thanks to “revi­sion­ist” researchers. And, as we not­ed in a pri­or 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 Isabel­la 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 Menabrea 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 Menabrea’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 36, 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 of. 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 an episode of the BBC’s In Our Time, above, you can hear for­mer-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.

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

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.

What Did Ancient Rome Look Like? A 3D Virtual Tour of the City During the Second Century AD

The descrip­tion “open-air muse­um” has often been applied, in var­i­ous sens­es both pos­i­tive and neg­a­tive, to the coun­try of Italy in gen­er­al and the city of Rome in par­tic­u­lar. Indeed, only the imag­i­na­tion of a tru­ly blink­ered (or unusu­al­ly phone-addict­ed) tourist could fail to be cast back to antiq­ui­ty upon enter­ing its his­toric cen­ter, itself an offi­cial­ly des­ig­nat­ed UNESCO World Her­itage Site. Yet it also takes lit­tle expo­sure to the intense cul­ture of tourism and all it has wrought to won­der how Rome was back when, if you like, Rome was Rome: in the sec­ond cen­tu­ry AD, say, when its built envi­ron­ment reached the height of its glo­ry.

Manuel Bra­vo can show us. A YouTu­ber who cre­ates high­ly infor­ma­tive real, vir­tu­al, and hybrid video tours of famous ancient places, he’s pre­vi­ous­ly been fea­tured here on Open Cul­ture for his work on every­where from the Acrop­o­lis to the Sis­tine Chapel, to Paris and Pom­peii.

His “Vir­tu­al Rome” takes us on not a walk through the Eter­nal City of near­ly two mil­len­nia ago, but a flight: view­ers of mod­ern trav­el doc­u­men­taries will find its cam­era move­ments rem­i­nis­cent of noth­ing so much as drone pho­tog­ra­phy. This tech­nique pro­vides views even the most august ancient Roman cit­i­zens could nev­er have com­mand­ed.

Begin­ning on the Capi­to­line Hill, the most sacred of the sev­en such for­ma­tions with­in the orig­i­nal city walls, Bravo’s vir­tu­al cam­era pass­es the Tem­ples of Jupiter and Juno Mon­e­ta; the Tab­u­lar­i­um, which stored mail, the Roman Forum and its basil­i­cas; and the Curia Julia, where the sen­a­tors of the Roman Repub­lic met. Less­er-known loca­tions include the Ros­tra, named for the sea walls of cap­tured ene­my ships with which it was adorned, and from which the likes of Cicero would deliv­er their speech­es; the Regia, home to the Pon­tif­ex Max­imus, the pre­fect of Roman priests; and the “dark, stink­ing” under­ground facil­i­ty known as the Tul­lianum, now called Mamer­tine Prison. Parts of that last remain open for the appre­ci­a­tion of twen­ty-first-cen­tu­ry tourists — or at least those will­ing to pay the ten-euro entrance fee.

Relat­ed Con­tent:

Rome Reborn: A New 3D Vir­tu­al Mod­el Lets You Fly Over the Great Mon­u­ments of Ancient Rome

Take Ani­mat­ed Vir­tu­al Real­i­ty Tours of Ancient Rome at Its Archi­tec­tur­al Peak (Cir­ca 320 AD)

An 8‑Minute Ani­mat­ed Flight Over Ancient Rome

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

The Chang­ing Land­scape of Ancient Rome: A Free Online Course from Sapien­za Uni­ver­si­ty of Rome

The Roman Colos­se­um Decon­struct­ed: 3D Ani­ma­tion Reveals the Hid­den Tech­nol­o­gy That Pow­ered Rome’s Great Are­na

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Hear the Earliest Known Piece of Polyphonic Music: This Composition, Dating Back to 900 AD, Changed Western Music

Like dig­ging for fos­sils or pan­ning for gold, the research process can be a tedious affair. But for any researcher, long days of search­ing and read­ing will even­tu­al­ly result in dis­cov­ery. These are the moments schol­ars cher­ish. It’s the chance dis­cov­ery, how­ev­er rare, that makes the long hours and bleary late nights worth­while. And some finds can change an entire field. Such was the dis­cov­ery of St. John’s Col­lege PhD stu­dent, and now Asso­ciate Pro­fes­sor of Musi­col­o­gy at the Uni­ver­si­ty of Pavia, Gio­van­ni Varel­li, who, in 2014, found what is believed to be, writes Cam­bridge Uni­ver­si­ty, “the ear­li­est known prac­ti­cal exam­ple of poly­phon­ic music,” that is, music con­sist­ing of two or more melod­ic lines work­ing togeth­er simul­ta­ne­ous­ly.

You can hear the short composition—written in praise of the patron saint of Ger­many, Saint Boniface—performed above by St. John’s under­grad­u­ates Quintin Beer and John Clapham. Pri­or to Varelli’s dis­cov­ery of this piece of music, the ear­li­est poly­phon­ic music was thought to date to the year 1000, from a col­lec­tion called The Win­ches­ter Trop­er. Varelli’s dis­cov­ery may date to 100 years ear­li­er, around the year 900, and was found at the end of a man­u­script of the Life of Bish­op Mater­ni­anus of Reims. One rea­son musi­col­o­gists have so far over­looked the piece, Varel­li says, is that “we are not see­ing what we expect­ed.”

Typ­i­cal­ly, poly­phon­ic music is seen as hav­ing devel­oped from a set of fixed rules and almost mechan­i­cal prac­tice. This changes how we under­stand that devel­op­ment pre­cise­ly because who­ev­er wrote it was break­ing those rules. It shows that music at this time was in a state of flux and devel­op­ment.

Varelli’s spe­cial­iza­tion in ear­ly music nota­tion also pro­vid­ed him with the train­ing need­ed to rec­og­nize the piece, which was writ­ten using “an ear­ly form of nota­tion that pre­dates the inven­tion of the stave” (see the piece below). Accord­ing to for­mer British Library cura­tor Nico­las Bell, “when this man­u­script was first cat­a­logued in the 18th cen­tu­ry, nobody was able to under­stand these unusu­al sym­bols.” Varelli’s dis­cov­ery shows a devi­a­tion from “the con­ven­tion laid out in trea­tis­es at the time” and points toward the devel­op­ment of a musi­cal tech­nique that “defined most Euro­pean music up until the 20th cen­tu­ry.”

Varel­li gives us a sense of how impor­tant this dis­cov­ery is to schol­ars of ear­ly music: “the rules being applied here laid the foun­da­tions for those that devel­oped and gov­erned the major­i­ty of west­ern music his­to­ry for the next thou­sand years. This dis­cov­ery shows how they were evolv­ing, and how they exist­ed in a con­stant state of trans­for­ma­tion, around the year 900.”

So there you have it. If you’re stuck in the dol­drums of a research project, wait­ing for the wind to pick up, don’t despair. The next rare arti­fact, trea­tise, or man­u­script may be wait­ing for some­one with exact­ly your spe­cial­ized insights to deci­pher its secrets.

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

Relat­ed Con­tent:

Hear a 9,000 Year Old Flute—the World’s Old­est Playable Instrument—Get Played Again

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

Josh Jones is a writer and musi­cian based in Durham, NC. 

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