Margaret Hamilton, Lead Software Engineer of the Apollo Project, Stands Next to Her Code That Took Us to the Moon (1969)

Pho­to cour­tesy of MIT Muse­um

When I first read news of the now-infa­mous Google memo writer who claimed with a straight face that women are bio­log­i­cal­ly unsuit­ed to work in sci­ence and tech, I near­ly choked on my cere­al. A dozen exam­ples instant­ly crowd­ed to mind of women who have pio­neered the very basis of our cur­rent tech­nol­o­gy while oper­at­ing at an extreme dis­ad­van­tage in a cul­ture that explic­it­ly believed they shouldn’t be there, this shouldn’t be hap­pen­ing, women shouldn’t be able to do a “man’s job!”

The memo, as Megan Molteni and Adam Rogers write at Wired, “is a species of dis­course pecu­liar to polit­i­cal­ly polar­ized times: cher­ry-pick­ing sci­en­tif­ic evi­dence to sup­port a pre-exist­ing point of view.” Its spe­cious evo­lu­tion­ary psy­chol­o­gy pre­tends to objec­tiv­i­ty even as it ignores real­i­ty. As Mul­der would say, the truth is out there, if you care to look, and you don’t need to dig through clas­si­fied FBI files. Just, well, Google it. No, not the pseu­do­science, but the careers of women in STEM with­out whom we might not have such a thing as Google.

Women like Mar­garet Hamil­ton, who, begin­ning in 1961, helped NASA “devel­op the Apol­lo program’s guid­ance sys­tem” that took U.S. astro­nauts to the moon, as Maia Wein­stock reports at MIT News. “For her work dur­ing this peri­od, Hamil­ton has been cred­it­ed with pop­u­lar­iz­ing the con­cept of soft­ware engi­neer­ing.” Robert McMil­lan put it best in a 2015 pro­file of Hamil­ton:

It might sur­prise today’s soft­ware mak­ers that one of the found­ing fathers of their boys’ club was, in fact, a mother—and that should give them pause as they con­sid­er why the gen­der inequal­i­ty of the Mad Men era per­sists to this day.

Hamil­ton was indeed a moth­er in her twen­ties with a degree in math­e­mat­ics, work­ing as a pro­gram­mer at MIT and sup­port­ing her hus­band through Har­vard Law, after which she planned to go to grad­u­ate school. “But the Apol­lo space pro­gram came along” and con­tract­ed with NASA to ful­fill John F. Kennedy’s famous promise made that same year to land on the moon before the decade’s end—and before the Sovi­ets did. NASA accom­plished that goal thanks to Hamil­ton and her team.

Pho­to cour­tesy of MIT Muse­um

Like many women cru­cial to the U.S. space pro­gram (many dou­bly mar­gin­al­ized by race and gen­der), Hamil­ton might have been lost to pub­lic con­scious­ness were it not for a pop­u­lar redis­cov­ery. “In recent years,” notes Wein­stock, “a strik­ing pho­to of Hamil­ton and her team’s Apol­lo code has made the rounds on social media.” You can see that pho­to at the top of the post, tak­en in 1969 by a pho­tog­ra­ph­er for the MIT Instru­men­ta­tion Lab­o­ra­to­ry. Used to pro­mote the lab’s work on Apol­lo, the orig­i­nal cap­tion read, in part, “Here, Mar­garet is shown stand­ing beside list­ings of the soft­ware devel­oped by her and the team she was in charge of, the LM [lunar mod­ule] and CM [com­mand mod­ule] on-board flight soft­ware team.”

As Hank Green tells it in his con­densed his­to­ry above, Hamil­ton “rose through the ranks to become head of the Apol­lo Soft­ware devel­op­ment team.” Her focus on errors—how to pre­vent them and course cor­rect when they arise—“saved Apol­lo 11 from hav­ing to abort the mis­sion” of land­ing Neil Arm­strong and Buzz Aldrin on the moon’s sur­face. McMil­lan explains that “as Hamil­ton and her col­leagues were pro­gram­ming the Apol­lo space­craft, they were also hatch­ing what would become a $400 bil­lion indus­try.” At Futur­ism, you can read a fas­ci­nat­ing inter­view with Hamil­ton, in which she describes how she first learned to code, what her work for NASA was like, and what exact­ly was in those books stacked as high as she was tall. As a woman, she may have been an out­lier in her field, but that fact is much bet­ter explained by the Occam’s razor of prej­u­dice than by any­thing hav­ing to do with evo­lu­tion­ary deter­min­ism.

Note: You can now find Hamil­ton’s code on Github.

Relat­ed Con­tent:

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

Meet Grace Hop­per, the Pio­neer­ing Com­put­er Sci­en­tist Who Helped Invent COBOL and Build the His­toric Mark I Com­put­er (1906–1992)

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

NASA Puts Its Soft­ware Online & Makes It Free to Down­load

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

Neil deGrasse Tyson is Creating a New Space Exploration Video Game with the Help of George R.R. Martin & Neil Gaiman

Although Neil deGrasse Tyson is some­what hes­i­tant to go in on plans to ter­raform and col­o­nize Mars, that doesn’t mean he doesn’t like a good ol’–yet science-based–video game. Sev­er­al out­lets announced recent­ly that the videogame Space Odyssey, spear­head­ed by deGrasse Tyson–one of America’s main defend­ers of log­ic and Enlightenment–has sur­passed its Kick­starter fund­ing goal. The game promis­es to send play­ers on “real sci­ence-based mis­sions to explore space, col­o­nize plan­ets, cre­ate and mod in real time.”

In the game, accord­ing to deGrasse Tyson, “you con­trol the for­ma­tion of plan­ets, of comets, of life, civ­i­liza­tion. You could maybe tweak the force of grav­i­ty and see what effect that might have.” It will be, he says, “an explo­ration into the laws of physics and how they shape the world in which we live.”

The game has been form­ing for sev­er­al years now, and most impor­tant­ly to our read­ers, has called in sev­er­al sci-fi and fan­ta­sy writ­ers to help cre­ate the var­i­ous worlds in the game, as they have apt­ly demon­strat­ed their skills in doing so on the print­ed page. That includes George R.R. Mar­tin, cur­rent­ly ignor­ing what­ev­er HBO is doing to his cre­ation Game of Thrones; Neil Gaiman, who cre­ates a new uni­verse every time he drops a new nov­el; and Len Wein, who has had a hand in cre­at­ing both DC’s Swamp Thing and Marvel’s Wolver­ine. Also on board: deGrasse Tyson’s bud­dy Bill Nye, for­mer NASA astro­naut Mike Mas­simi­no, and astro­physi­cist Charles Liu.

The idea of world/­galaxy-build­ing is not new in video games, espe­cial­ly recent­ly. No Man’s Sky (2015) fea­tures “eigh­teen quin­til­lion full-fea­tured plan­ets” and Minecraft seems lim­it­less. But Space Odyssey (still a tem­po­rary title!) is the first to have deGrasse Tyson and friends work­ing the con­trols in the back­ground. And a game is as good as the vision­ar­ies behind it.

 

Accord­ing to the Kick­starter page, the raised funds will go into “the abil­i­ty to have this com­mu­ni­ty play the game and engage with it while the final build is under­way. As the Kick­starter gam­ing com­mu­ni­ty begins to beta test game-play and pro­vide feed­back, we can begin to use the funds raised via Kick­starter to incor­po­rate your mod­ding, map­ping and build­ing sug­ges­tions, togeth­er build­ing the awe­some gam­ing expe­ri­ence you helped to cre­ate.”

DeGrasse Tyson will be in the game him­self, urg­ing play­ers onward. There’s no indi­ca­tion whether Mr. Mar­tin will be pop­ping up, though.

Relat­ed Con­tent:

Neil deGrasse Tyson: “Because of Pink Floyd, I’ve Spent Decades Undo­ing the Idea That There’s a Dark Side of the Moon”

David Byrne & Neil deGrasse Tyson Explain the Impor­tance of an Arts Edu­ca­tion (and How It Strength­ens Sci­ence & Civ­i­liza­tion)

Are We Liv­ing in a Com­put­er Sim­u­la­tion?: A 2‑Hour Debate with Neil Degrasse Tyson, David Chalmers, Lisa Ran­dall, Max Tegmark & More

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Neil deGrasse Tyson: “Because of Pink Floyd, I’ve Spent Decades Undoing the Idea That There’s a Dark Side of the Moon”

In 1973, Pink Floyd released their influ­en­tial con­cept album, The Dark Side of the Moon, which gar­nered both crit­i­cal and com­mer­cial suc­cess. The album sold some 45 mil­lion copies, and remained on Bill­board­’s Top LPs & Tapes chart for 741 weeks (from 1973 to 1988). All of which was great for Pink Floyd. But not so much for sci­ence and edu­ca­tion.

As Neil deGrasse Tyson explains above. “That Pink Floyd had an album with that title meant I spent decades hav­ing to undo [that fact] as an edu­ca­tor.” That’s because “there is no dark side of the moon.” “There’s a far side and there’s a near.” “But all sides of the moon receive sun­light across the month.”

To delve deep­er into this, it’s worth read­ing this short arti­cle (Myth­busters: Is There Real­ly a Dark Side of the Moon?) from Yale Sci­en­tif­ic Mag­a­zine. There, they elab­o­rate:

No mat­ter where we are on Earth, we see and always have seen only one face of the moon. Since the moon rotates on its axis in the same amount of time that it takes the body to orbit our plan­et, the same half face of the moon is con­sis­tent­ly exposed to view­ers on Earth. This tim­ing is caused by a phe­nom­e­non called tidal lock­ing, which occurs when a larg­er astro­nom­i­cal body (Earth) exerts a strong grav­i­ta­tion­al pull on a small­er body (the moon), forc­ing one side of the small­er body to always face the larg­er one.…

[T]he fact that we earth­lings can­not see the far side of the moon does not mean that this face is nev­er exposed to sun­light. In fact, the far side of the moon is no more and no less dark than the hemi­sphere we do see.

Get the rest here.

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:

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

David Byrne & Neil deGrasse Tyson Explain the Impor­tance of an Arts Edu­ca­tion (and How It Strength­ens Sci­ence & Civ­i­liza­tion)

Michio Kaku & Noam Chom­sky School Moon Land­ing and 9/11 Con­spir­a­cy The­o­rists

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Artist Draws 9 Portraits While on LSD: Inside the 1950s Experiments to Turn LSD into a “Creativity Pill”

LSD was first syn­the­sized in 1938 by chemist Albert Hoff­man in a Swiss lab­o­ra­to­ry but only attained infamy almost two decades lat­er, when it became part of a series of gov­ern­ment exper­i­ments. At the same time, a UC Irvine psy­chi­a­trist, Oscar Janiger (“Oz” to his friends), con­duct­ed his own stud­ies under very dif­fer­ent cir­cum­stances. “Unlike most researchers, Janiger want­ed to cre­ate a ‘nat­ur­al’ set­ting,” writes Brandy Doyle for MAPS (the Mul­ti­dis­ci­pli­nary Asso­ci­a­tion for Psy­che­del­ic Stud­ies). He rea­soned that “there was noth­ing espe­cial­ly neu­tral about a lab­o­ra­to­ry or hos­pi­tal room,” so he “rent­ed a house out­side of LA, in which his sub­jects could have a rel­a­tive­ly non-direct­ed expe­ri­ence in a sup­port­ive envi­ron­ment.”

Janiger want­ed his sub­jects to make cre­ative dis­cov­er­ies in a state of height­ened con­scious­ness. The study sought, he wrote, to “illu­mi­nate the phe­nom­e­no­log­i­cal nature of the LSD expe­ri­ence,” to see whether the drug could effec­tive­ly be turned into a cre­ativ­i­ty pill. He found, over a peri­od last­ing from 1954 to 1962 (when the exper­i­ments were ter­mi­nat­ed), that among his approx­i­mate­ly 900 sub­jects, those who were in ther­a­py “had a high rate of pos­i­tive response,” but those not in ther­a­py “found the expe­ri­ence much less pleas­ant.” Janiger’s find­ings have con­tributed to the research that orga­ni­za­tions like MAPS have done on psy­choac­tive drugs in ther­a­peu­tic set­tings. The exper­i­ments also pro­duced a body of art­work made by study par­tic­i­pants on acid.

Janiger invit­ed over 100 pro­fes­sion­al artists into the study and had them pro­duce over 250 paint­ings and draw­ings. The series of eight draw­ings you see here most like­ly came from one of those artists (though “the records of the iden­ti­ty of the prin­ci­ple researcher have been lost,” writes Live­Science). In the psych-rock-scored video at the top see the pro­gres­sion of increas­ing­ly abstract draw­ings the artist made over the course of his 8‑hour trip. He report­ed on his per­cep­tions and sen­sa­tions through­out the expe­ri­ence, not­ing, at what seems to be the drug’s peak moment at 2.5 and 3 hours in, “I feel that my con­scious­ness is sit­u­at­ed in the part of my body that’s active—my hand, my elbow, my tongue…. I am… every­thing is… changed… they’re call­ing… your face… inter­wo­ven… who is….”

Trip­py, but there’s much more to the exper­i­ment than its imme­di­ate effects on artists’ brains and sketch­es. As Janiger’s col­league Mar­lene Dobkin de Rios writes in her defin­i­tive book on his work, “all of the artists who par­tic­i­pat­ed in Janiger’s project said that LSD not only rad­i­cal­ly changed their style but also gave them new depths to under­stand the use of col­or, form, light, or the way these things are viewed in a frame of ref­er­ence. Their art, they claimed, changed its essen­tial char­ac­ter as a con­se­quence of their expe­ri­ences.” Psy­chol­o­gist Stan­ley Kripp­n­er made sim­i­lar dis­cov­er­ies, and “defined the term psy­che­del­ic artist” to describe those who, as in Janiger’s stud­ies “gained a far greater insight into the nature of art and the aes­thet­ic idea,” Dobkin de Rios writes.

Artis­tic productions—paintings, poems, sketch­es, and writ­ings that stemmed from the experience—often show a rad­i­cal depar­ture from the artist’s cus­tom­ary mode of expres­sion… the artists’ gen­er­al opin­ion was that their work became more expres­sion­is­tic and demon­strat­ed a vast­ly greater degree of free­dom and orig­i­nal­i­ty.

The work of the unknown artist here takes on an almost mys­ti­cal qual­i­ty after a while. The project began “serendip­i­tous­ly” when one of Janiger’s vol­un­teers in 1954 insist­ed on being able to draw dur­ing the dos­ing. “After his LSD expe­ri­ence,” writes Dobkin de Rios, “the artist was very emphat­ic that it would be most reveal­ing to allow oth­er artists to go through this process of per­cep­tu­al change.” Janiger was con­vinced, as were many of his more famous test sub­jects.

Janiger report­ed­ly intro­duced LSD to Cary Grant, Anais Nin, Jack Nichol­son, and Aldous Hux­ley dur­ing guid­ed ther­a­py ses­sions. Still, he is not near­ly as well-known as oth­er LSD pio­neers like Ken Kesey and Tim­o­thy Leary, in part because, writes the psy­choac­tive research site Erowid, “his data remained large­ly unpub­lished dur­ing his life­time,” and he was not him­self an artist or media per­son­al­i­ty (though he was a cousin of Allen Gins­berg).

Janiger not only changed the con­scious­ness of unnamed and famous artists with LSD, but also exper­i­ment­ed with DMT with Alan Watts and fel­low psy­chi­a­trist Humphry Osmond (who coined the word “psy­che­del­ic”), and con­duct­ed research on pey­ote with Dobkin de Rios. To a great degree, we have him to thank (or blame) for the explo­sion of psy­che­del­ic art and phi­los­o­phy that flowed out of the ear­ly six­ties and indeli­bly changed the cul­ture. At Live­Science, you can see a slideshow of these draw­ings with com­men­tary from Yale physi­cian Andrew Sewell on what might be hap­pen­ing in the trip­ping artist’s brain.

Note: IAI Acad­e­my has just released a short course called The Sci­ence of Psy­che­delics. You can enroll in it here.

Relat­ed Con­tent:

Rare Footage Shows US and British Sol­diers Get­ting Dosed with LSD in Gov­ern­ment-Spon­sored Tests (1958 + 1964)

Hofmann’s Potion: 2002 Doc­u­men­tary Revis­its His­to­ry of LSD

Ken Kesey Talks About the Mean­ing of the Acid Tests

Aldous Huxley’s Most Beau­ti­ful, LSD-Assist­ed Death: A Let­ter from His Wid­ow

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

An Animated Look at Vladimir Nabokov’s Passion for Butterfly Collecting: “Literature & Butterflies Are the Two Sweetest Passions Known to Man”

Lit­er­a­ture and but­ter­flies are the two sweet­est pas­sions known to man. — Vladimir Nabokov

A 1941 fam­i­ly road trip along Route 66 plant­ed the seeds for Vladimir Nabokov’s nov­el Loli­ta.

It also enriched the Amer­i­can Muse­um of Nat­ur­al His­to­ry’s but­ter­fly col­lec­tion by some 300 North Amer­i­can spec­i­mens.

The author, an avid ama­teur lep­i­dopter­ist, indulged his hob­by along the way, deposit­ing but­ter­flies col­lect­ed on this and oth­er trips in glas­sine envelopes labeled with the name of the towns where the crea­tures encoun­tered his net. Upon his return, he decid­ed to donate most of his haul to the museum’s Lep­i­doptera col­lec­tion, where he was as an eager vol­un­teer.

Years lat­er, Suzanne Rab Green, a Tiger Moth spe­cial­ist and assis­tant cura­tor at the muse­um, uncov­ered Nabokov’s spec­i­mens packed in a vin­tage White Owl cig­ar box.

Rec­og­niz­ing that this col­lec­tion had lit­er­ary val­ue as well as sci­en­tif­ic, Green decid­ed to sort it by loca­tion rather than species, pre­serv­ing the care­ful­ly hand-let­tered envelopes along with the frag­ile wings and tho­rax­es.

Using Google Earth, she retraced Nabokov’s 3‑week jour­ney for the museum’s Shelf Life series, dig­i­tal­ly pin­ning his finds along­side vin­tage post­cards of Get­tys­burg, Yosemite Nation­al Park, and the Grande Tourist Lodge in Dal­las, Texas—all fer­tile col­lec­tion sites, at least in 1941.

But­ter­flies remained a life­long obses­sion for the author. He served for six years as cura­tor of Harvard’s Muse­um of Com­par­a­tive Zoology’s Lep­i­doptera wing and devel­oped an evo­lu­tion­ary the­o­ry relat­ed to his study of the Poly­omma­tus blues Green men­tions in the 360° video above. (Be aware, the 360° fea­ture will not work in Safari).

He also wooed his wife, Vera, by mak­ing charm­ing and keen­ly observed draw­ings of but­ter­flies for her.

An avowed ene­my of sym­bols and alle­go­ry, Nabokov pre­vent­ed but­ter­flies from occu­py­ing too sig­nif­i­cant a role in his fic­tion­al oeu­vre, though he gushed unabashed­ly in his mem­oir, Speak, Mem­o­ry:

Let me also evoke the hawk­moths, the jets of my boy­hood! Col­ors would die a long death on June evenings. The lilac shrubs in full bloom before which I stood, net in hand, dis­played clus­ters of a fluffy gray in the dark—the ghost of pur­ple. A moist young moon hung above the mist of a neigh­bor­ing mead­ow. In many a gar­den have I stood thus in lat­er years—in Athens, Antibes, Atlanta—but nev­er have I wait­ed with such a keen desire as before those dark­en­ing lilacs. And sud­den­ly it would come, the low buzz pass­ing from flower to flower, the vibra­tional halo around the stream­lined body of an olive and pink Hum­ming­bird moth poised in the air above the corol­la into which it had dipped its long tongue…. Through the gusty black­ness, one’s lantern would illu­mine the stick­i­ly glis­ten­ing fur­rows of the bark and two or three large moths upon it imbib­ing the sweets, their ner­vous wings half open but­ter­fly fash­ion, the low­er ones exhibit­ing their incred­i­ble crim­son silk from beneath the lichen-gray pri­maries. “Cato­cala adul­tera!” I would tri­umphant­ly shriek in the direc­tion of the light­ed win­dows of the house as I stum­bled home to show my cap­tures to my father.

Despite the author’s stat­ed dis­taste for overt sym­bol­ism, a few but­ter­flies did man­age to flut­ter onto the pages of his best known work, result­ing in at least one the­sis papers that makes a case for Loli­ta as butterfly—irresistible, beau­ti­ful, eas­i­ly ensnared….

Did I ever men­tion that her bare arm bore the 8 of vac­ci­na­tion? That I loved her hope­less­ly? That she was only four­teen? An inquis­i­tive but­ter­fly passed, dip­ping, between us.

- Loli­ta, Vladimir Nabokov, 1955

Track Nabokov’s cross-coun­try but­ter­fly col­lect­ing trip, cour­tesy of the Amer­i­can Muse­um of Nat­ur­al His­to­ry, here.

Relat­ed Con­tent:

Vladimir Nabokov’s Delight­ful But­ter­fly Draw­ings

Vladimir Nabokov Names the Great­est (and Most Over­rat­ed) Nov­els of the 20th Cen­tu­ry

Take Vladimir Nabokov’s Quiz to See If You’re a Good Reader–The Same One He Gave to His Stu­dents

Vladimir Nabokov (Chan­nelled by Christo­pher Plum­mer) Teach­es Kaf­ka at Cor­nell

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

36 Abstract Covers of Vintage Psychology, Philosophy & Science Books Come to Life in a Mesmerizing Animation

Ani­mat­ed ebook cov­ers are the wave of the future.

Graph­ic and motion design­er Hen­ning M. Led­er­er surfs that wave on the most unex­pect­ed of boards—a col­lec­tion of abstract mid-cen­tu­ry cov­ers drawn from the Insta­gram feed of artist Julian Mon­tague, who shares his enthu­si­asm for vin­tage min­i­mal­ism.

Led­er­er first came to our atten­tion in 2015, when we cov­ered the first install­ment of what seems des­tined to become an ongo­ing project.

His lat­est effort, above, con­tin­ues his explo­rations in the sub­jects which most fre­quent­ly trad­ed in these sorts of geo­met­ric covers—science, psy­chother­a­py, phi­los­o­phy and soci­ol­o­gy.

No word on what inspired him to toss in the first cov­er, which fea­tures a cheer­ful, Play­mo­bil-esque mush­room gath­er­er. It’s endear­ing, but—to quote Sesame Street—is not like the oth­ers. Those of us who can’t deci­pher Cyril­lic script get the fun of imag­in­ing what sort of text this is—a mycol­o­gy man­u­al? A children’s tale? A psy­cho­log­i­cal examination—and ulti­mate­ly rejection—of mid­cen­tu­ry pub­lish­ers’ fas­ci­na­tion for spi­rals, diag­o­nal bars, and oth­er non-nar­ra­tive graph­ics?

Whether or not you’d be inclined to pick up any of these titles, you may find your­self want­i­ng to dance to them, com­pli­ments of musi­cian Jörg Stier­le’s trip­py elec­tron­ics.

Or take your cue from yet anoth­er cov­er  con­tained there­in: I. P. Pavlov’s Essays in Psy­chol­o­gy and Psy­chi­a­try with a Spe­cial Sec­tion on Sleep and Hyp­no­sis.

Here’s the one that start­ed it all:

Relat­ed Con­tent:

55 Cov­ers of Vin­tage Phi­los­o­phy, Psy­chol­o­gy & Sci­ence Books Come to Life in a Short Ani­ma­tion

Artist Ani­mates Famous Book Cov­ers in an Ele­gant, Under­stat­ed Way

500+William S. Bur­roughs Book Cov­ers from Across the Globe: 1950s Through the 2010s

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

Graphic Shows the House Plants That Naturally Clean the Air in Your Home, According to a NASA Study

This is a quick pub­lic ser­vice announce­ment. If you believe in sci­ence and facts, read on.

Back in the 1980s, NASA pub­lished a research report called “Inte­ri­or Land­scape Plants for Indoor Air Pol­lu­tion Abate­ment” that grap­pled with a par­tic­u­lar prob­lem: Many mod­ern build­ings (par­tic­u­lar­ly office build­ings) have become so well insu­lat­ed and her­met­i­cal­ly sealed that they allow for lit­tle “free air exchange.” As a result, tox­ins build up in these build­ings (for exam­ple, from the off gassing of fur­ni­ture) and the inhab­i­tants even­tu­al­ly pay a price.

In response, NASA looked for nat­ur­al ways to clean up these sealed spaces (like the Inter­na­tion­al Space Sta­tion), par­tic­u­lar­ly by avail­ing them­selves of the nat­ur­al air fil­ter­ing prop­er­ties of every­day house plants:

In this study the leaves, roots, soil, and asso­ci­at­ed microor­gan­isms of plants have been eval­u­at­ed as a pos­si­ble means of reduc­ing indoor air pol­lu­tants. Addi­tion­al­ly, a nov­el approach of using plant sys­tems for remov­ing high con­cen­tra­tions of indoor air pol­lu­tants such as cig­a­rette smoke, organ­ic sol­vents, and pos­si­bly radon has been designed from this work. This air fil­ter design com­bines plants with an acti­vat­ed car­bon fil­ter as shown in Fig­ure 1. The ratio­nale for this design, which evolved from waste­water treat­ment stud­ies, is based on mov­ing large vol­umes of con­t­a­m­i­nat­ed air through an acti­vat­ed car­bon bed where smoke, organ­ic chem­i­cals, path­o­gen­ic microor­gan­isms (if present), and pos­si­bly radon are absorbed by the car­bon fil­ter. Plant roots and their asso­ci­at­ed microor­gan­isms then destroy the path­o­gen­ic virus­es, bac­te­ria, and the organ­ic chem­i­cals, even­tu­al­ly con­vert­ing all of these air pol­lu­tants into new plant tissue.(31“37) It is believed that the decayed radon prod­ucts would be tak­en up by the plant roots and retained in the plant tis­sue.

You can read the rest of the study here. And, above, find a graph­ic (cre­at­ed by Lovethe­Gar­den) that visu­al­izes the results of the NASA study, show­ing which par­tic­u­lar plants will reduce air pol­lu­tion in your office and home.

For good mea­sure, we’ve also added below a short video where researcher Kamal Meat­tle “shows how an arrange­ment of three com­mon house­plants, used in spe­cif­ic spots in a home or office build­ing, can result in mea­sur­ably clean­er indoor air.”

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:

How Bak­ing, Cook­ing & Oth­er Dai­ly Activ­i­ties Help Pro­mote Hap­pi­ness and Alle­vi­ate Depres­sion and Anx­i­ety

Stream 18 Hours of Free Guid­ed Med­i­ta­tions

Free Col­or­ing Books from World-Class Libraries & Muse­ums: The Met, New York Pub­lic Library, Smith­son­ian & More

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Leonardo da Vinci’s Visionary Notebooks Now Online: Browse 570 Digitized Pages

Quick, what do you know about Leonar­do da Vin­ci? He paint­ed the Mona Lisa! He wrote his notes back­wards! He designed super­cool bridges and fly­ing machines! He was a genius about, um… a lot of oth­er… things… and, um, stuff…

Okay, I’m sure you know a bit more than that, but unless you’re a Renais­sance schol­ar, you’re cer­tain to find your­self amazed and sur­prised at how much you didn’t know about the quin­tes­sen­tial Renais­sance man when you encounter a com­pi­la­tion of his note­books—Codex Arun­del—which has been dig­i­tized by the British Library and made avail­able to the pub­lic.

The note­book, writes Jonathan Jones at The Guardian, rep­re­sents “the liv­ing record of a uni­ver­sal mind.” And yet, though a “technophile” him­self, “when it came to pub­li­ca­tion, Leonar­do was a lud­dite…. He made no effort to get his notes pub­lished.”

For hun­dreds of years, the huge, secre­tive col­lec­tion of man­u­scripts remained most­ly unseen by all but the most rar­i­fied of col­lec­tors. After Leonar­do’s death in France, writes the British Library, his stu­dent Francesco Melzi “brought many of his man­u­scripts and draw­ings back to Italy. Melzi’s heirs, who had no idea of the impor­tance of the man­u­scripts, grad­u­al­ly dis­posed of them.” Nonethe­less, over 5,000 pages of notes “still exist in Leonardo’s ‘mir­ror writ­ing’, from right to left.” In the note­books, da Vin­ci drew “visions of the aero­plane, the heli­copter, the para­chute, the sub­ma­rine and the car. It was more than 300 years before many of his ideas were improved upon.”

The dig­i­tized note­books debuted in 2007 as a joint project of the British Library and Microsoft called “Turn­ing the Pages 2.0,” an inter­ac­tive fea­ture that allows view­ers to “turn” the pages of the note­books with ani­ma­tions. Onscreen gloss­es explain the con­tent of the cryp­tic notes sur­round­ing the many tech­ni­cal draw­ings, dia­grams, and schemat­ics (see a selec­tion of the note­books in this ani­mat­ed for­mat here). For an over­whelm­ing amount of Leonar­do, you can look through 570 dig­i­tized pages of Codex Arun­del here. For a slight­ly more digestible, and read­able, amount of Leonar­do, see the British Library’s brief series on his life and work, includ­ing expla­na­tions of his div­ing appa­ra­tus, para­chute, and glid­er.

And for much more on the man—including evi­dence of his sar­to­r­i­al “pref­er­ence for pink tights” and his shop­ping lists—see Jonathan Jones’ Guardian piece, which links to oth­er note­book col­lec­tions and resources. The artist and self-taught poly­math made an impres­sive effort to keep his ideas from pry­ing eyes. Now, thanks to dig­i­tized col­lec­tions like those at the British Library, “any­one can study the mind of Leonar­do.”

Relat­ed Con­tent:

Leonar­do Da Vinci’s To Do List (Cir­ca 1490) Is Much Cool­er Than Yours

How to Build Leonar­do da Vinci’s Inge­nious Self-Sup­port­ing Bridge: Renais­sance Inno­va­tions You Can Still Enjoy Today

Down­load the Sub­lime Anato­my Draw­ings of Leonar­do da Vin­ci: Avail­able Online, or in a Great iPad App

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

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