Watch Stephen Hawking’s Interview with Neil DeGrasse Tyson, Recorded 10 Days Before His Death: A Last Conversation about Black Holes, Time Travel & More

Ten days before Stephen Hawking’s death, Neil DeGrasse Tyson sat down with the world-famous physi­cist for an inter­view on Tyson’s StarTalk pod­cast. “I picked his leg­endary brain,” says Tyson in his intro­duc­tion, “on every­thing, from the big bang to the ori­gins of the uni­verse.” He starts off, how­ev­er, with some soft­balls. Hawking’s favorite food? He likes oys­ters. Favorite drink? Pimms.

Your appre­ci­a­tion for Tyson’s earnest­ly awk­ward small talk may vary. He’s prone to mak­ing him­self laugh, which doesn’t elic­it laughs from Hawk­ing, whose com­mu­ni­ca­tion was, of course, extra­or­di­nar­i­ly con­strained. And yet, when it came to mat­ters most of con­se­quence to him, he was elo­quent, wit­ty, pro­found into his final days.

Though we can­not detect any tonal inflec­tion in Hawking’s com­put­er voice, we know him as a sen­si­tive, com­pas­sion­ate per­son as well as a bril­liant mind. It doesn’t sound like he’s brag­ging when—in answer to Tyson’s ques­tion about his favorite equa­tion (at 4:10)—he replies, “the equa­tion I dis­cov­ered relat­ing the entropy of black hole to the area of its hori­zon.” “How many peo­ple,” Tyson replies, chuck­ling, “get to say that their favorite equa­tion is one they came up with? That’s badass.”

Cut­away seg­ments with Tyson, the­o­ret­i­cal physi­cist Jan­na Levin, and come­di­an Matt Kir­shen sur­round the short inter­view, with Levin offer­ing her pro­fes­sion­al exper­tise as a cos­mol­o­gist to explain Hawking’s ideas in lay terms. His favorite equa­tion, she says, demon­strates that black holes actu­al­ly radi­ate ener­gy, return­ing infor­ma­tion, though in a high­ly dis­or­dered form, that was pre­vi­ous­ly thought lost for­ev­er.

At 8:05, hear Hawking’s answer to the ques­tion of what he would ask Isaac New­ton if he could go back in time. Whether we under­stand his reply or not, we learn how “badass” it is in the cut­away com­men­tary (which begins to seem a lit­tle ESPN-like, with Levin as the sea­soned play­er on the pan­el). Rather than ask­ing New­ton a ques­tion Hawk­ing him­self didn’t know the answer to, which New­ton like­ly couldn’t answer either, Hawk­ing would ask him to solve a prob­lem at the lim­it of Newton’s own stud­ies, there­by test­ing the Enlight­en­ment giant’s abil­i­ties.

Offered ad-free in Hawking’s mem­o­ry, the pod­cast inter­view also tack­les the ques­tion of whether it might ever be pos­si­ble to actu­al­ly trav­el back in time, at 24:00 (the answer may dis­ap­point you). Michio Kaku joins the pan­el in the stu­dio to clar­i­fy and sticks around for the remain­der of the dis­cus­sion. The pan­el also answers fan-sub­mit­ted ques­tions, and Bill Nye makes an appear­ance at 42:16. Hawking’s inter­view makes up a com­par­a­tive­ly small por­tion of the show.

His answers, by neces­si­ty, were very brief and to the point. His final the­o­ries, by con­trast, are mind-expand­ing­ly vast, open­ing us up to the secrets of black holes and the exis­tence of the mul­ti­verse. While Hawk­ing’s the­o­ret­i­cal work may have been too spec­u­la­tive for the Nobel com­mit­tee, who need hard evi­dence to make a call, his lega­cy as “one of our great­est minds, of our gen­er­a­tion, of the cen­tu­ry, or maybe, ever,” as Tyson says, seems secure.

via Laugh­ing Squid

Relat­ed Con­tent:

Stephen Hawk­ing (RIP) Explains His Rev­o­lu­tion­ary The­o­ry of Black Holes with the Help of Chalk­board Ani­ma­tions

The Lighter Side of Stephen Hawk­ing: The Physi­cist Cracks Jokes and a Smile with John Oliv­er

Stephen Hawking’s Uni­verse: A Visu­al­iza­tion of His Lec­tures with Stars & Sound

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

The Periodic Table of David Bowie: A Visualization of the Seminal Artist’s Influence and Influences

Mick Jag­ger …

Dada poet Tris­tan Tzara

Chair­man Mao…

What do these 20th-cen­tu­ry icons have in com­mon?

Cor­rect! They’re also all ele­ments on artist Paul Robert­son’s Peri­od­ic Table of Bowie.

The late musi­cian David Bowie was a skin-shed­ding chameleon, and a remark­ably sta­ble iso­tope. His cre­ative influ­ences were var­ied.

Robert­son’s table debuted in 2013 as part of the Vic­to­ria & Albert David Bowie is exhi­bi­tion, three years before rock­’s sem­i­nal Star­man exit­ed the plan­et. Fol­low­ing a 12-city tour, it’s tak­ing its final bow at the Brook­lyn Muse­um.

“I’m not an idiot,” the artist con­fid­ed in an inter­view. “I know that peo­ple are most­ly inter­est­ed in it because it’s David Bowie. But I think it’s still a valid art­work.”

In addi­tion to posi­tion­ing such influ­ences as col­lab­o­ra­tor John Lennon, film­mak­er Stan­ley Kubrick, and for­mer room­mate Iggy Pop as atom­ic num­bers, Robert­son’s table allows for artists who came after.

“Fly My Pret­ties Fly (Thank You. We’ll Take It From Here)” includes Lady Gaga, Pulp front­man Jarvis Cock­er, and fel­low dandy, Mor­ris­sey, while Bowie’s 90s-era cos­tumer, design­er Alexan­der McQueen and artist Jeff Koons hold down “His­to­ry Is a Choice the Future Decides Upon.”

Fit­ting­ly, author Oscar Wilde appears in the Hydro­gen slot.

Buy a print of the Peri­od­ic Table of Bowie here.

Explore David Bowie is in per­son at the Brook­lyn Muse­um through July 15.

Relat­ed Con­tent:

The David Bowie Book Club Gets Launched by His Son: Read One of Bowie’s 100 Favorite Books Every Month

Dave: The Best Trib­ute to David Bowie That You’re Going to See

In 1999, David Bowie Pre­dicts the Good and Bad of the Inter­net

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on March 20 for the sec­ond install­ment of Necro­mancers of the Pub­lic Domain at The Tank. Fol­low her @AyunHalliday.

Carl Sagan’s “Baloney Detection Kit”: A Toolkit That Can Help You Scientifically Separate Sense from Nonsense

It’s prob­a­bly no stretch to say that mass dis­in­for­ma­tion cam­paigns and ram­pant anti-intel­lec­tu­al­ism will con­sti­tute an increas­ing amount of our polit­i­cal real­i­ty both today and in the future. As Han­nah Arendt wrote, the polit­i­cal lie has always been with us. But its glob­al reach, par­tic­u­lar vehe­mence, and bla­tant con­tempt for ver­i­fi­able real­i­ty seem like inno­va­tions of the present.

Giv­en the embar­rass­ing wealth of access to infor­ma­tion and edu­ca­tion­al tools, maybe it’s fair to say that the first and last line of defense should be our own crit­i­cal rea­son­ing. When we fail to ver­i­fy news—using resources we all have in hand (I assume, since you’re read­ing this), the fault for believ­ing bad infor­ma­tion may lie with us.

But we so often don’t know what it is that we don’t know. Indi­vid­u­als can’t be blamed for an inad­e­quate edu­ca­tion­al sys­tem, and one should not under­es­ti­mate the near-impos­si­bil­i­ty of con­duct­ing time-con­sum­ing inquiries into the truth of every sin­gle claim that comes our way, like try­ing to iden­ti­fy indi­vid­ual droplets while get­ting hit in the face with a pres­sur­ized blast of tar­get­ed, con­tra­dic­to­ry info, some­times com­ing from shad­owy, unre­li­able sources.

Carl Sagan under­stood the dif­fi­cul­ty, and he also under­stood that a lack of crit­i­cal think­ing did not make peo­ple total­ly irra­tional and deserv­ing of con­tempt. “It’s not hard to under­stand,” for exam­ple, why peo­ple would think their rel­a­tives are still alive in some oth­er form after death. As he writes of this com­mon phe­nom­e­non in “The Fine Art of Baloney Detec­tion,” most super­nat­ur­al beliefs are just “humans being human.”

In the essay, a chap­ter from his 1995 book The Demon-Haunt­ed World, Sagan pro­pos­es a rig­or­ous but com­pre­hen­si­ble “baloney detec­tion kit” to sep­a­rate sense from non­sense.

  • Wher­ev­er pos­si­ble there must be inde­pen­dent con­fir­ma­tion of the “facts.”
  • Encour­age sub­stan­tive debate on the evi­dence by knowl­edge­able pro­po­nents of all points of view.
  • Argu­ments from author­i­ty car­ry lit­tle weight — “author­i­ties” have made mis­takes in the past. They will do so again in the future. Per­haps a bet­ter way to say it is that in sci­ence there are no author­i­ties; at most, there are experts.
  • Spin more than one hypoth­e­sis. If there’s some­thing to be explained, think of all the dif­fer­ent ways in which it could be explained. Then think of tests by which you might sys­tem­at­i­cal­ly dis­prove each of the alter­na­tives.
  • Try not to get over­ly attached to a hypoth­e­sis just because it’s yours. It’s only a way sta­tion in the pur­suit of knowl­edge. Ask your­self why you like the idea. Com­pare it fair­ly with the alter­na­tives. See if you can find rea­sons for reject­ing it. If you don’t, oth­ers will.
  • If what­ev­er it is you’re explain­ing has some mea­sure, some numer­i­cal quan­ti­ty attached to it, you’ll be much bet­ter able to dis­crim­i­nate among com­pet­ing hypothe­ses. What is vague and qual­i­ta­tive is open to many expla­na­tions.
  • If there’s a chain of argu­ment, every link in the chain must work (includ­ing the premise) — not just most of them.
  • Occam’s Razor. This con­ve­nient rule-of-thumb urges us when faced with two hypothe­ses that explain the data equal­ly well to choose the sim­pler. Always ask whether the hypoth­e­sis can be, at least in prin­ci­ple, fal­si­fied…. You must be able to check asser­tions out. Invet­er­ate skep­tics must be giv­en the chance to fol­low your rea­son­ing, to dupli­cate your exper­i­ments and see if they get the same result.

Call­ing his rec­om­men­da­tions “tools for skep­ti­cal think­ing,” he lays out a means of com­pen­sat­ing for the strong emo­tion­al pulls that “promise some­thing like old-time reli­gion” and rec­og­niz­ing “a fal­la­cious or fraud­u­lent argu­ment.” At the top of the post, in a video pro­duced by Big Think, you can hear sci­ence writer and edu­ca­tor Michael Sher­mer explain the “baloney detec­tion kit” that he him­self adapt­ed from Sagan, and just above, read Sagan’s own ver­sion, abridged into a short list (read it in full at Brain Pick­ings).

Like many a sci­ence com­mu­ni­ca­tor after him, Sagan was very much con­cerned with the influ­ence of super­sti­tious reli­gious beliefs. He also fore­saw a time in the near future much like our own. Else­where in The Demon-Haunt­ed World, Sagan writes of “Amer­i­ca in my children’s or grandchildren’s time…. when awe­some tech­no­log­i­cal pow­ers are in the hands of a very few.” The loss of con­trol over media and edu­ca­tion ren­ders peo­ple “unable to dis­tin­guish between what feels good and what’s true.”

This state involves, he says a “slide… back into super­sti­tion” of the reli­gious vari­ety and also a gen­er­al “cel­e­bra­tion of igno­rance,” such that well-sup­port­ed sci­en­tif­ic the­o­ries car­ry the same weight or less than expla­na­tions made up on the spot by author­i­ties whom peo­ple have lost the abil­i­ty to “knowl­edge­ably ques­tion.” It’s a scary sce­nario that may not have com­plete­ly come to pass… just yet, but Sagan knew as well or bet­ter than any­one of his time how to address such a poten­tial social epi­dem­ic.

Relat­ed Con­tent:

Carl Sagan Pre­dicts the Decline of Amer­i­ca: Unable to Know “What’s True,” We Will Slide, “With­out Notic­ing, Back into Super­sti­tion & Dark­ness” (1995)

Carl Sagan’s Syl­labus & Final Exam for His Course on Crit­i­cal Think­ing (Cor­nell, 1986)

Carl Sagan’s Last Inter­view

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

Tattoos Can Now Start Monitoring Your Medical Conditions: Harvard and MIT Researchers Innovate at the Intersection of Art & Medicine

Once reserved for rebels and out­liers, tat­toos have gone main­stream in the Unit­ed States. Accord­ing to recent sur­veys, 21% of all Amer­i­cans now have at least one tat­too. And, among the 18–29 demo­graph­ic, the num­ber ris­es to 40%. If that num­ber sounds high, just wait until tat­toos go from being aes­thet­ic state­ments to bio­med­ical devices.

At Har­vard and MIT, researchers have devel­oped “smart tat­too ink” that can mon­i­tor changes in bio­log­i­cal and health con­di­tions, mea­sur­ing, for exam­ple, when the blood sug­ar of a dia­bet­ic ris­es too high, or the hydra­tion of an ath­lete falls too low. Pair­ing biosen­si­tive inks with tra­di­tion­al tat­too designs, these smart tat­toos could con­ceiv­ably pro­vide real-time feed­back on a range of med­ical con­di­tions. And also raise a num­ber of eth­i­cal ques­tions: what hap­pens when your health infor­ma­tion gets essen­tial­ly worn on your sleeve, avail­able for all to see?

To learn more about smart tat­toos, watch the Har­vard video above, and read the cor­re­spond­ing arti­cle in the Har­vard Gazette.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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:

Meet Amer­i­ca & Britain’s First Female Tat­too Artists: Maud Wag­n­er (1877–1961) & Jessie Knight (1904–1994)

Browse a Gallery of Kurt Von­negut Tat­toos, and See Why He’s the Big Goril­la of Lit­er­ary Tat­toos

A Daz­zling Gallery of Clock­work Orange Tat­toos

Free Online Biol­o­gy Cours­es 

NASA Puts 400+ Historic Experimental Flight Videos on YouTube

“Video,” as we now say on the inter­net, “or it did­n’t hap­pen,” artic­u­lat­ing a prin­ci­ple to which the ever-for­ward-think­ing Nation­al Aero­nau­tics and Space Admin­is­tra­tion (NASA) has adhered for about 70 years now, start­ing with film in the time before the inven­tion of video itself. Even set­ting aside the won­ders of voy­ag­ing into out­er space, NASA has done a few things right here on Earth that you would­n’t believe unless you saw them with your own eyes. And now you eas­i­ly can, thanks to the agen­cy’s com­mit­ment to mak­ing the fruits of its research avail­able to all on its YouTube Chan­nel. Take for exam­ple this recent­ly-uploaded col­lec­tion of 400 his­toric flight videos.

Here we have just a sam­pling of the hun­dreds of videos avail­able to all: the M2-F1, a pro­to­type wing­less air­craft, towed across a lakebed by a mod­i­fied 1963 Pon­ti­ac Catali­na con­vert­ible; a mid-1960s test of the Lunar Lan­der Research Vehi­cle, also known as the “fly­ing bed­stead,” that will sure­ly remind long-mem­o­ried gamers of their many quar­ters lost to Atar­i’s Lunar Lan­der; a spin tak­en in the Mojave Desert, forty years lat­er, by the Mars Explo­ration Rover; and, most explo­sive­ly of all, a “con­trolled impact demon­stra­tion” of a Boe­ing 720 air­lin­er full of crash-test dum­mies meant to test out a new type of “anti-mist­ing kerosene” as well as a vari­ety of oth­er inno­va­tions designed to increase crash sur­viv­abil­i­ty.

These his­toric test videos were all shot back when the Arm­strong Flight Research Cen­ter (re-named in 2014 for Neil Arm­strong, whose lega­cy stands as a tes­ta­ment to the cumu­la­tive effec­tive­ness of all these NASA tests) was known as the Hugh L. Dry­den Flight Research Cen­ter: you can watch the 418 clips just from that era on this playlist.

Rest assured that the exper­i­men­ta­tion con­tin­ues and that NASA still push­es the bound­aries of avi­a­tion right here on Earth, a project con­tin­u­ous­ly doc­u­ment­ed in the chan­nel’s newest videos. As aston­ish­ing as we may find mankind’s for­ays up into the sky and beyond so far, the avi­a­tion engi­neer’s imag­i­na­tion, it seems, has only just got­ten start­ed.

via Pale­o­Fu­ture

Relat­ed Con­tent:

The Best of NASA Space Shut­tle Videos (1981–2010)

Free NASA eBook The­o­rizes How We Will Com­mu­ni­cate with Aliens

NASA Puts Online a Big Col­lec­tion of Space Sounds, and They’re Free to Down­load and Use

NASA Releas­es 3 Mil­lion Ther­mal Images of Our Plan­et Earth

NASA Archive Col­lects Great Time-Lapse Videos of our Plan­et

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

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 Face­book.

A Map Shows What Happens When Our World Gets Four Degrees Warmer: The Colorado River Dries Up, Antarctica Urbanizes, Polynesia Vanishes

Human­i­ty faces few larg­er ques­tions than what, exact­ly, to do about cli­mate change — and, in a sense larg­er still, what cli­mate change even means. We’ve all heard a vari­ety of dif­fer­ent future sce­nar­ios laid out, each of them based on dif­fer­ent data. But data can only make so much of an impact unless trans­lat­ed into a form with which the imag­i­na­tion can read­i­ly engage: a visu­al form, for instance, and few visu­al forms come more tried and true than the map.

And so “lead­ing glob­al strate­gist, world trav­el­er, and best-sell­ing author” Parag Khan­na has cre­at­ed the map you see above (view in a larg­er for­mat here), which shows us the state of our world when it gets just four degrees cel­sius warmer. “Microne­sia is gone – sunk beneath the waves,” writes Big Think’s Frank Jacobs in an exam­i­na­tion of Khan­na’s map. “Pak­istan and South India have been aban­doned. And Europe is slow­ly turn­ing into a desert.”

But “there is also good news: West­ern Antarc­ti­ca is no longer icy and unin­hab­it­able. Smart cities thrive in new­ly green and pleas­ant lands. And North­ern Cana­da, Scan­di­navia, and Siberia pro­duce boun­ti­ful har­vests to feed the hun­dreds of mil­lions of cli­mate refugees who now call those regions home.”

Not quite as apoc­a­lyp­tic a cli­mate-change vision as some, to be sure, but it still offers plen­ty of con­sid­er­a­tions to trou­ble us. Lands in light green, accord­ing to the map’s col­or scheme, will remain or turn into “food-grow­ing zones” and “com­pact high-rise cities.” Yel­low indi­cates “unin­hab­it­able desert,” brown areas “unin­hab­it­able due to floods, drought, or extreme weath­er.” In dark green appear lands with “poten­tial for refor­esta­tion,” and in red those places that ris­ing sea lev­els have ren­dered utter­ly lost.

Those last include the edges of many coun­tries in Asia (and all of Poly­ne­sia), as well as the area where the south­east of the Unit­ed States meets the north­east of Mex­i­co and the north and south coasts of South Amer­i­ca. But if you’ve ever want­ed to live in Antarc­ti­ca, you won’t have to move into a research base: with­in a cou­ple of decades, accord­ing to Khan­na’s data, that most mys­te­ri­ous con­ti­nent could become unrec­og­niz­able and “dense­ly pop­u­lat­ed with high-rise cities,” pre­sum­ably with their own hip­ster quar­ters. But where best to grow the ingre­di­ents for its avo­ca­do toast?

Any­one inter­est­ed in Parag Khan­na’s map will want to check out his book, Con­nec­tog­ra­phy: Map­ping the Future of Glob­al Civ­i­liza­tion.

via Big Think

Relat­ed Con­tent:

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

A Cen­tu­ry of Glob­al Warm­ing Visu­al­ized in a 35 Sec­ond Video

Ani­ma­tions Show the Melt­ing Arc­tic Sea Ice, and What the Earth Would Look Like When All of the Ice Melts

132 Years of Glob­al Warm­ing Visu­al­ized in 26 Dra­mat­i­cal­ly Ani­mat­ed Sec­onds

Music for a String Quar­tet Made from Glob­al Warm­ing Data: Hear “Plan­e­tary Bands, Warm­ing World”

A Song of Our Warm­ing Plan­et: Cel­list Turns 130 Years of Cli­mate Change Data into Music

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 Face­book.

Werner’s Nomenclature of Colour, the 19th-Century “Color Dictionary” Used by Charles Darwin (1814)

Before Pan­tone invent­ed “a uni­ver­sal col­or lan­guage” or big box hard­ware stores arose with pro­pri­etary dis­plays of col­or­ful­ly-named paints—over a cen­tu­ry before, in fact—a Ger­man min­er­al­o­gist named Abra­ham Got­t­lob Wern­er invent­ed a col­or sys­tem, as detailed and thor­ough a guide as an artist might need. But rather than only cater to the needs of painters, design­ers, and man­u­fac­tur­ers, Werner’s Nomen­cla­ture of Colours also served the needs of sci­en­tists. “Charles Dar­win even used the guide,” writes This is Colos­sal, “dur­ing his voy­age to the Madeira, Canary, and Cape Verde islands on the H.M.S. Bea­gle.”

Werner’s is one of many such “col­or dic­tio­nar­ies” from the 19th cen­tu­ry, “designed to give peo­ple around the world a com­mon vocab­u­lary,” writes Daniel Lewis at Smith­son­ian, “to describe the col­ors of every­thing from rocks and flow­ers to stars, birds, and postage stamps.” These guides appealed espe­cial­ly to nat­u­ral­ists.

Indeed, the book began—before Scot­tish painter Patrick Syme updat­ed the sys­tem in Eng­lish, with swatch­es of exam­ple colors—as a naturalist’s guide to the col­ors of the world, nam­ing them accord­ing to Werner’s poet­ic fan­cy. “With­out an image for ref­er­ence,” the orig­i­nal text “pro­vid­ed immense hand­writ­ten detail describ­ing where each spe­cif­ic shade could be found on an ani­mal, plant, or min­er­al. Many of Wern­er’s unique col­or names still exist in com­mon usage, though they’ve detached from his scheme ages ago.

Pruss­ian Blue, for instance, which can be locat­ed “in the beau­ty spot of a mallard’s wing, on the sta­mi­na of a bluish-pur­ple anemone, or in a piece of blue cop­per ore.” Oth­er exam­ples, notes Fast Company’s Kelsey Camp­bell-Dol­laghan, include “’Skimmed Milk White,’” or no. 7… found in ‘the white of the human eye’ or in opals,” and no. 67, or “’Wax Yel­low’… found in the lar­vae of large Water Bee­tles or the green­ish parts of a Non­pareil Apple.” It would have been Syme’s 1814 guide that Dar­win con­sult­ed, as did sci­en­tists, nat­u­ral­ists, and artists for two cen­turies after­ward, either as a tax­o­nom­ic col­or ref­er­ence or as an admirable his­toric artifact—a painstak­ing descrip­tion of the col­ors of the world, or those encoun­tered by two 18th and 19th cen­tu­ry Euro­pean observers, in an era before pho­to­graph­ic repro­duc­tion cre­at­ed its own set of stan­dards.

The book is now being repub­lished in an afford­able pock­et-size edi­tion by Smith­son­ian Books, who note that the Edin­burgh flower painter Syme, in his illus­tra­tions of Werner’s nomen­cla­ture, “used the actu­al min­er­als described by Wern­er to cre­ate the col­or charts.” This degree of fideli­ty to the source extends to Syme’s use of tables to neat­ly orga­nize Werner’s pre­cise descrip­tions. Next to each color’s num­ber, name, and swatch, are columns with its loca­tion on var­i­ous ani­mals, veg­eta­bles and min­er­als. “Orpi­ment Orange,” named after a min­er­al, though none is list­ed in its col­umn, will be found, Wern­er tells us, on the “neck ruff of the gold­en pheas­ant” or “bel­ly of the warty newt.” Should you have trou­ble track­ing these down, sure­ly you’ve got some “Indi­an cress” around?

While its ref­er­ences may not be those your typ­i­cal indus­tri­al design­er or graph­ic artist is like­ly to find help­ful, Werner’s Nomen­cla­ture of Colours will still find a trea­sured place in the col­lec­tions of design­ers and visu­al artists of all kinds, as well as his­to­ri­ans, writ­ers, poets, and the sci­en­tif­ic inher­i­tors of 19th cen­tu­ry nat­u­ral­ism, as a “charm­ing arti­fact from the gold­en age of nat­ur­al his­to­ry and glob­al explo­ration.” Flip through a scanned ver­sion of the 1821 sec­ond edi­tion just above, includ­ing Wern­er’s intro­duc­tion and care­ful lists of col­or prop­er­ties, or read it in a larg­er for­mat at the Inter­net Archive. The new edi­tion is now avail­able for pur­chase here.

via This Is Colos­sal/Fast Co

Relat­ed Con­tent:

The Vibrant Col­or Wheels Designed by Goethe, New­ton & Oth­er The­o­rists of Col­or (1665–1810)

Goethe’s Col­or­ful & Abstract Illus­tra­tions for His 1810 Trea­tise, The­o­ry of Col­ors: Scans of the First Edi­tion

How Tech­ni­col­or Rev­o­lu­tion­ized Cin­e­ma with Sur­re­al, Elec­tric Col­ors & Changed How We See Our World

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

Artificial Intelligence May Have Cracked the Code of the Voynich Manuscript: Has Modern Technology Finally Solved a Medieval Mystery?

What is it about the Voyn­ich Man­u­script—that cryp­tic, illus­trat­ed 15th cen­tu­ry text of unknown ori­gin and meaning—that has so fas­ci­nat­ed and obsessed schol­ars for cen­turies? Writ­ten in what appears to be an invent­ed lan­guage, with bizarre illus­tra­tions of oth­er­world­ly botany, mys­te­ri­ous cos­mol­o­gy, and strange anato­my, the book resem­bles oth­er pro­to-sci­en­tif­ic texts of the time, except for the fact that it is total­ly inde­ci­pher­able, “a cer­tain rid­dle of the Sphinx,” as one alchemist described it. The 240-page enig­ma inspires attempt after attempt by cryp­tol­o­gists, lin­guists, and his­to­ri­ans eager to under­stand its secrets—that is if it doesn’t turn out to be a too-clever Medieval joke.

One recent try, by Nicholas Gibbs, has per­haps not lived up to the hype. Anoth­er recent attempt by Stephen Bax, who wrote the short TED Ed les­son above, has also come in for its share of crit­i­cism. Giv­en the invest­ment of schol­ars since the 17th cen­tu­ry in crack­ing the Voyn­ich code, both of these efforts might jus­ti­fi­ably be called quite opti­mistic. The Voyn­ich may for­ev­er elude human under­stand­ing, though it was, pre­sum­ably, cre­at­ed by human hands. Per­haps it will take a machine to final­ly solve the puz­zle, an arti­fi­cial brain that can process more data than the com­bined efforts of every schol­ar who has ever applied their tal­ents to the text. Com­put­er sci­en­tists at the Uni­ver­si­ty of Alber­ta think so and claim to have cracked the Voyn­ich code with arti­fi­cial intel­li­gence (AI).

Com­put­er sci­ence pro­fes­sor Greg Kon­drak and grad­u­ate stu­dent Bradley Hauer began their project by feed­ing a com­put­er pro­gram 400 dif­fer­ent lan­guages, tak­en from the “Uni­ver­sal Dec­la­ra­tion of Human Rights.” While “they ini­tial­ly hypoth­e­sized that the Voyn­ich man­u­script was writ­ten in [ancient] Ara­bic,” reports Jen­nifer Pas­coe, “it turned out that the most like­ly lan­guage was [ancient] Hebrew.” (Pre­vi­ous guess­es, the CBC notes, “have ranged from a type of Latin to a deriva­tion of Sino-Tibetan.”) The next step involved deci­pher­ing the manuscript’s code. Kon­drak and Hauer dis­cov­ered that “the let­ters in each word… had been reordered. Vow­els had been dropped.” The the­o­ry seemed promis­ing, but the pair were unable to find any Hebrew schol­ars who would look at their find­ings.

With­out human exper­tise to guide them, they turned to anoth­er AI, whose results, we know, can be noto­ri­ous­ly unre­li­able. Nonethe­less, feed­ing the first sen­tence into Google trans­late yield­ed the fol­low­ing: “She made rec­om­men­da­tions to the priest, man of the house and me and peo­ple.” It’s at least gram­mat­i­cal, though Kon­drak admits “it’s a kind of strange sen­tence to start a man­u­script.” Oth­er analy­ses of the first sec­tion have turned up sev­er­al oth­er words, such as “farmer,” “light,” “air,” and “fire”—indeed the sci­en­tists have found 80 per­cent of the man­u­scrip­t’s words in ancient Hebrew dic­tio­nar­ies. Fig­ur­ing out how they fit togeth­er in a com­pre­hen­si­ble syn­tax has proven much more dif­fi­cult. Kon­drak and Hauer admit these results are ten­ta­tive, and may be wrong. With­out cor­rob­o­ra­tion from Hebrew experts, they are also unlike­ly to be tak­en very seri­ous­ly by the schol­ar­ly com­mu­ni­ty.

But the pri­ma­ry goal was not to trans­late the Voyn­ich but to use it as a means of cre­at­ing algo­rithms that could deci­pher ancient lan­guages. “Impor­tant­ly,” notes Giz­mo­do, “the researchers aren’t say­ing they’ve deci­phered the entire Voyn­ich man­u­script,” far from it. But they might have dis­cov­ered the keys that oth­ers may use to do so. Or they may—as have so many others—have been led down anoth­er blind alley, as one com­menter at IFL Sci­ence sug­gests, sar­cas­ti­cal­ly quot­ing the wise Bull­win­kle Moose: “This time for sure!”

You can find the Voyn­ich Man­u­script scanned at Yale’s Bei­necke Rare Book & Man­u­script Library. Copies can be pur­chased in book for­mat as well.

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to “the World’s Most Mys­te­ri­ous Book,” the 15th-Cen­tu­ry Voyn­ich Man­u­script

Behold the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

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

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