Can You Pass This Test Originally Given to 8th Graders Living in Kentucky in 1912?

bcschoolexam1912sm--1-

Can you spell “con­ceive”?

Of course you can! All it takes is a device with a built-in spelling app, an inno­va­tion of which no eighth grad­er in the far west­ern reach­es of blue­grass area Ken­tucky could have con­ceived back in 1912.

They were, how­ev­er, expect­ed to be able to name the waters though which an Eng­lish ves­sel would pass en route to Mani­la via the Suez Canal.

Can you?

While we’re at it, how much do you real­ly know about the human liv­er? Enough to locate it, iden­ti­fy its secre­tions, and dis­course on its size rel­a­tive to oth­er bod­i­ly glands?

If you answered yes, con­grat­u­la­tions. There’s a good chance you’d be pro­mot­ed to high school back in 1912. Not bad for a kid attend­ing a one-room school in rur­al Bul­lit Coun­ty.

And now for some extra cred­it, name the last bat­tles of the Civ­il War, the War of 1812, and the French and Indi­an War. Com­mand­ing offi­cers, too…

That’s the sort of mul­ti­part ques­tion that await­ed the eighth graders con­verg­ing on the Bul­lit Coun­ty cour­t­house for 1912’s com­mon exam, above. The very same cour­t­house in which the mod­ern day Bul­litt Coun­ty His­to­ry Muse­um is locat­ed. A civic-mind­ed indi­vid­ual donat­ed a copy of the test to this insti­tu­tion, and the staff put it online, think­ing it might be fun for lat­ter-day spec­i­mens like you and me to see how we mea­sure up.

So—just for fun—try typ­ing the phrase “com­mand­ing offi­cer last bat­tle french & indi­an war” into your search engine of choice. For­get instant grat­i­fi­ca­tion. Embrace the anx­i­ety!

Com­mon wis­dom holds that stan­dard­ized tests are a lot hard­er than they used to be. But look­ing at the sort of stuff your aver­age eighth grad­er had to regur­gi­tate two years pri­or to the start of WW1, I’m not so sure…

Thank god the Inter­net was there to define “kalso­min­ing” for me. Even with the aid of a cal­cu­la­tor, math is not my strong suit. That said, I’m usu­al­ly good enough with words to get the nar­ra­tive gist of any sto­ry prob­lem.

Usu­al­ly.

I con­fess, I was so demor­al­ized by my igno­rance, I couldn’t have dreamed of attempt­ing to fig­ure out how much it would cost to “kalsomine” a 20 x 16 x 9 foot room, espe­cial­ly with a door and win­dow involved.

For­tu­nate­ly, the Bul­lit Coun­ty Genealog­i­cal Soci­ety has seen fit to pro­vide an online answer sheet, a dig­i­tal lux­u­ry that would have gob­s­macked their fore­bears.

SPOILER: $8.01. That’s the amount it would’ve cost to kalsomine your room at 1912 prices. (A steal, con­sid­er­ing that a quart of White Wash Pick­ling Water Based Stain will run you $12.37 a quart at a nation­al­ly known hard­ware super­store today.)

Go ahead, take that test.

If you quail at the prospect of far­ing poor­ly against a rur­al 1912 eighth grad­er, just imag­ine how well he or she would do, tele­port­ed to 2016, and forced to con­tend with such mys­ter­ies as cyber bul­ly­ing, gen­der pol­i­tics, and offen­sive egg­plant emo­jis

via The Paris Review.

Relat­ed Con­tent:

The Open Syl­labus Project Gath­ers 1,000,000 Syl­labi from Uni­ver­si­ties & Reveals the 100 Most Fre­quent­ly-Taught Books

Take the 146-Ques­tion Knowl­edge Test Thomas Edi­son Gave to Prospec­tive Employ­ees (1921)

Take The Near Impos­si­ble Lit­er­a­cy Test Louisiana Used to Sup­press the Black Vote (1964)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She lives in fear that her youngest child will pen a mem­oir titled I Was a Home­schooled 8th Grad­er and Oth­er Chillling True Life Tales. Fol­low her @AyunHalliday

170 Renowned Academics Talk About Why They Disbelieve, or Believe, in God

Whether we choose to affil­i­ate with any sort of athe­ist move­ment or not, many peo­ple raised in the­is­tic reli­gions came over time to see God as a lit­er­ary char­ac­ter in ancient mytholo­gies and his­tor­i­cal fic­tions, as a place­hold­er for human igno­rance, or as a per­son­i­fi­ca­tion of humanity’s great­est fears and desires. The notion that such a per­son­al super-being actu­al­ly exists has become for many of us, in William James’ terms, a “dead hypoth­e­sis.” As physi­cist Lawrence Krauss puts it in the video above, “there’s absolute­ly no evi­dence that we need the super­nat­ur­al hand of God” to explain the uni­verse. Reli­gions give us fan­ci­ful sto­ries, illus­trate eth­i­cal (and uneth­i­cal) prin­ci­ples, and enforce trib­al loy­al­ties, but they do not describe real­i­ty as it is.

We all come to hold our beliefs, or lack there­of, about reli­gious claims for an irre­ducibly com­plex vari­ety of rea­sons that are intel­lec­tu­al as well as moral, polit­i­cal, and emo­tion­al. Can we demon­strate, how­ev­er, that “the more sci­en­tif­i­cal­ly lit­er­ate, intel­lec­tu­al­ly hon­est and objec­tive­ly scep­ti­cal a per­son is, the more like­ly they are to dis­be­lieve in any­thing super­nat­ur­al, includ­ing god”? Such is the the­sis of Dr. Jonathan Pararajasignham’s doc­u­men­tary 50 Renowned Aca­d­e­mics Speak­ing About God, which con­sists of edit­ed clips from inter­views with “elite aca­d­e­mics and pro­fes­sors at top insti­tu­tions, many of whom are also Nobel Lau­re­ates.” The claim appears on the screen in each of the three videos above and below, fram­ing the inter­view clips as mount­ing evi­dence for the con­vinc­ing case that dis­be­lief is strong­ly cor­re­lat­ed with, if not nec­es­sar­i­ly caused by, sci­en­tif­ic lit­er­a­cy, intel­lec­tu­al hon­esty, and skep­ti­cism.

Since his first video, Parara­jas­ing­ham has expand­ed his series to include 100 more “Renowned Aca­d­e­mics Speak­ing About God.” (See Parts Two and Three of the series above.) On the videos’ Youtube pages, he antic­i­pates a ready objec­tion, writ­ing, “I do not claim that this video demon­strates there is no God. It is not an argu­ment against God in itself, so there is no argu­ment from pop­u­lar­i­ty and author­i­ty.” If you’ve already arrived at the con­clu­sion, you’ll find it con­firmed many times over by a cast that includes physi­cists like Krauss, Richard Feyn­man, and Steven Wein­berg, philoso­phers like A.C. Gray­ing, Bertrand Rus­sell, and John Sear­le, and far too many more illus­tri­ous thinkers to name. (See a com­plete list on the Youtube pages of each video.) In addi­tion to well-known athe­ist writ­ers like Daniel Den­nett, the series also fea­tures aca­d­e­mics like anthro­pol­o­gist Pas­cal Boy­er, whose book Reli­gion Explained makes a nov­el and very per­sua­sive nat­u­ral­is­tic argu­ment for why humans have believed in the super­nat­ur­al for thou­sands of years.

Believ­ers may counter with their own list of smart peo­ple who do believe in God, and who also work in the hard sci­ences and aca­d­e­m­ic phi­los­o­phy, includ­ing renowned fig­ures like Human Genome Project direc­tor Fran­cis Collins and physi­cist Free­man Dyson. Whether or not they’d wish to claim failed pres­i­den­tial can­di­date Ben Car­son or reli­gious apol­o­gists Dinesh D’Souza and Ravi Zacharias as exam­ples of “intel­lec­tu­al hon­esty and sci­en­tif­ic lit­er­a­cy” I couldn’t say, but all of those peo­ple and more are includ­ed in the video above, 20 Chris­t­ian Aca­d­e­mics Speak­ing About God, which Parara­jas­ing­ham pro­duced as a coun­ter­point to his 50 Aca­d­e­mics series. Find the com­plete list of names for this video, along with links to com­plete inter­views, on Youtube.

Relat­ed Con­tent:

Free Online Reli­gion Cours­es

Robert Sapol­sky Explains the Bio­log­i­cal Basis of Reli­gios­i­ty, and What It Shares in Com­mon with OCD, Schiz­o­phre­nia & Epilep­sy

Richard Feyn­man on Reli­gion, Sci­ence, the Search for Truth & Our Will­ing­ness to Live with Doubt

Neil deGrasse Tyson Explains Why He’s Uncom­fort­able Being Labeled an ‘Athe­ist’

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

Discover Harvard’s Collection of 2,500 Pigments: Preserving the World’s Rare, Wonderful Colors

If mod­ern paint com­pa­nies’ pre­ten­tious­ly-named col­or palettes gall you to the point of an exclu­sive­ly black-and-white exis­tence, the Har­vard Art Muse­ums’ Forbes pig­ment col­lec­tion will prove a wel­come balm.

The hand and type­writ­ten labels iden­ti­fy­ing the collection’s 2500+ pig­ments boast none of the flashy “cre­ativ­i­ty” that J. Crew employs to ped­dle its cash­mere Boyfriend Cardi­gans.
Pigment Collection

Images by Har­vard News

The benign, and whol­ly unex­cit­ing-sound­ing “emer­ald green” is —unsurprisingly—the exact shade legions of Oz fans have come to expect. The thrills here are chem­i­cal, not con­ferred. A mix of crys­talline pow­der cop­per ace­toarsen­ite, this emerald’s fumes sick­ened pen­ni­less artists as adroit­ly as they repelled insects.

Look how nice­ly it goes with Van Gogh’s rud­dy hair…

Van Gogh Harvard

“Mum­my” is per­haps the clos­est the Forbes col­lec­tion comes to 21st- cen­tu­ry pig­ment nam­ing. As Harvard’s Direc­tor of the Straus Cen­ter for Con­ser­va­tion and Tech­ni­cal Stud­ies, Narayan Khan­dekar, notes in the video above, its mush­room shade is no great shakes. The source—the resin used to seal mum­mies’ bandages—is what dis­tin­guish­es it.

Index_mummy_02

The collection’s crown jew­el is a rich ball of mustard‑y Indi­an Yel­low. This pig­ment comes not from maize, nor earth, but from the dehy­drat­ed urine of a cow sub­sist­ing exclu­sive­ly on man­go leaves. I’m drawn to it like a moth to the liv­ing room walls. I’m sure Ben­jamin Moore had his rea­sons for dub­bing its urine-free fac­sim­i­le “Sun­ny Days.”

pigment_vault India Yellow

The images above, save the Van Gogh paint­ing, comes cour­tesy of by Har­vard News. The video above was cre­at­ed by Great Big Sto­ry.

Relat­ed Con­tent:

How Ink is Made: A Volup­tuous Process Revealed in a Mouth-Water­ing Video

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Watch the First 10 Sea­sons of Bob Ross’ The Joy of Paint­ing Free Online

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

The “Brain Dictionary”: Beautiful 3D Map Shows How Different Brain Areas Respond to Hearing Different Words

We’ve all had those moments of strug­gle to come up with le mot juste, in our native lan­guage or a for­eign one. But when we look for a par­tic­u­lar word, where exact­ly do we go to find it? Neu­ro­sci­en­tists at Berke­ley have made a fas­ci­nat­ing start on answer­ing that ques­tion by going in the oth­er direc­tion, map­ping out which parts of the brain respond to the sound of cer­tain words, using func­tion­al mag­net­ic res­o­nance imag­ing (fMRI) to watch the action on the cere­bral cor­tices of peo­ple lis­ten­ing to The Moth Radio Hour — a pop­u­lar sto­ry­telling pod­cast you your­self may have spent some time with, albeit under some­what dif­fer­ent cir­cum­stances.

“No sin­gle brain region holds one word or con­cept,” writes The Guardian’s Ian Sam­ple on the “brain dic­tio­nary” thus devel­oped by researcher Jack Gal­lant and his team. “A sin­gle brain spot is asso­ci­at­ed with a num­ber of relat­ed words. And each sin­gle word lights up many dif­fer­ent brain spots. Togeth­er they make up net­works that rep­re­sent the mean­ings of each word we use: life and love; death and tax­es; clouds, Flori­da and bra. All light up their own net­works.”

Sam­ple quotes Alexan­der Huth, the first author on the study: “It is pos­si­ble that this approach could be used to decode infor­ma­tion about what words a per­son is hear­ing, read­ing, or pos­si­bly even think­ing.” You can learn more about this promis­ing research in the short video from Nature above, which shows how the team mapped out how, dur­ing those Moth lis­ten­ing ses­sions, “dif­fer­ent bits of the brain respond­ed to dif­fer­ent kinds of words”: some regions lit up in response to those hav­ing to do with num­bers, for instance, oth­ers in response to “social words,” and oth­ers in response to those indi­cat­ing place.

You can also browse this brain dic­tio­nary your­self in 3D on the Gal­lant Lab’s web site, which lets you click on any part of the cor­tex and see a clus­ter of the words which gen­er­at­ed the most activ­i­ty there. The oth­er neu­ro­sci­en­tists quot­ed in the Guardian piece acknowl­edge both the thrilling (if slight­ly scary, in terms of thought-read­ing pos­si­bil­i­ties in the maybe-not-that-far-flung future) impli­ca­tions of the work as well as the huge amount of unknowns that remain. The response of the pod­cast­ing com­mu­ni­ty has so far gone unrecord­ed, but sure­ly they’d like to see the research extend­ed in the direc­tion of oth­er lin­guis­ti­cal­ly inten­sive shows — Marc Maron’s WTF, per­haps.

via The Guardian

Relat­ed Con­tent:

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

Becom­ing Bilin­gual Can Give Your Brain a Boost: What Recent Research Has to Say

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

This Is Your Brain on Jane Austen: The Neu­ro­science of Read­ing Great Lit­er­a­ture

Music in the Brain: Sci­en­tists Final­ly Reveal the Parts of Our Brain That Are Ded­i­cat­ed to Music

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, 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.

What Makes the Stradivarius Special? It Was Designed to Sound Like a Female Soprano Voice, With Notes Sounding Like Vowels, Says Researcher

What makes vio­lins made by the Stradi­vari and Guarneri fam­i­lies as valu­able to musi­cians as they are to col­lec­tors? And how do we mea­sure the opti­mal sound qual­i­ty of a vio­lin? One answer comes from vio­lin mak­er Anton Krutz, who spec­u­lates that these high­ly-prized clas­si­cal instru­ments sing so sweet­ly because they are “made with pro­por­tions and spi­rals based on Gold­en Ratio geom­e­try.”

Per­haps. But Joseph Nagy­vary, a pro­fes­sor emer­i­tus in bio­chem­istry at Texas A&M Uni­ver­si­ty, dis­cov­ered anoth­er, less lofty rea­son for the dis­tinc­tive sound of these cov­et­ed instru­ments. As Texas A&M Today reports, dur­ing his 25 years of research on Stradi­var­ius and Guarneri vio­lins, Nagy­vary found that the two mak­ers “soaked their instru­ments in chem­i­cals such as borax and brine to pro­tect them from a worm infes­ta­tion that was sweep­ing through Italy in the 1700s. By pure acci­dent the chem­i­cals used to pro­tect the wood had the unin­tend­ed result of pro­duc­ing the unique sounds that have been almost impos­si­ble to dupli­cate in the past 400 years.”

Though vio­lins have always been made to imi­tate the human voice, the unique­ness of the Stradi­vari and Guarneri vio­lins, Nagy­vary set out to prove, results in espe­cial­ly human­like tones. In a recent 2013 study pub­lished in the stringed instru­ment sci­ence peri­od­i­cal Savart Jour­nal, Nagy­vary pre­sent­ed research show­ing, writes Live Sci­ence, that these prized Ital­ian instru­ments “pro­duced sev­er­al vow­el sounds, includ­ing the Ital­ian ‘i’ and ‘e’ sounds and sev­er­al vow­el sounds from French and Eng­lish.” Whether by chem­i­cal acci­dent or grand geo­met­ric design, “the great vio­lin mas­ters were mak­ing vio­lins with more human­like voic­es than any oth­ers of the time.”

Seek­ing, as Nagy­vary says in the short video above, to “define what was the stan­dard of excel­lence for the vio­lin sound,” he decid­ed to mea­sure the Stradi­vari and Guarneri-made instru­ments against the orig­i­nal mod­el for their tim­bre: the female sopra­no voice. To com­pare the two, he had Itzhak Perl­man record a scale on a 1743 Guarneri vio­lin, then asked Met­ro­pol­i­tan Opera sopra­no Emi­ly Pul­ley to record her voice while she sang var­i­ous vow­el sounds. Nagy­vary ana­lyzed the har­mon­ic con­tent of both record­ings with a com­put­er pro­gram and mapped the results against each oth­er.

His project, writes Texas A&M Today, effec­tive­ly “proved that the sounds of Pulley’s voice and the violin’s could be locat­ed on the same map… and their respec­tive graph­ic images can be direct­ly com­pared.” The Guarneri vio­lin does indeed exact­ly mim­ic the tones of the singing human voice, repli­cat­ing vow­el sounds from Old Ital­ian and oth­er Euro­pean lan­guages.

Nagy­vary thinks his find­ings “could change how vio­lins may be valued”—for their sound rather than for the label inside the instru­ment. A vio­lin mak­er him­self, the for­mer bio­chem­istry pro­fes­sor also sug­gests a more prac­ti­cal appli­ca­tion for his research find­ings: they might teach vio­lin mak­ers how to improve the qual­i­ty of their instru­ments. Nagyvary’s sci­en­tif­ic approach may offer luthiers the exact chem­i­cal com­po­si­tion and the mea­sur­able tonal qual­i­ties of the Stradi­var­ius, enabling them to final­ly dupli­cate these beloved Renais­sance instru­ments.

Relat­ed Con­tent:

Why Vio­lins Have F‑Holes: The Sci­ence & His­to­ry of a Remark­able Renais­sance Design

Musi­cian Plays the Last Stradi­var­ius Gui­tar in the World, the “Sabionari” Made in 1679

The Art and Sci­ence of Vio­lin Mak­ing

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

Act of Love: A Strange, Wonderful Visual Dictionary of Animal Courtship

As var­i­ous nature doc­u­men­taries over the years have made explic­it, the ani­mal king­dom pos­sess­es courtship rit­u­als of such yearn­ing and grace, they can make the erot­ic fum­blings of our species seem a very clum­sy dance indeed.

The above spot for Japan’s first con­dom man­u­fac­tur­er, Saga­mi Indus­tries, offers a vision of how humans might bring a lit­tle ani­mal feel­ing to their ten­der moments.

(It’s worth not­ing that while this delight is spon­sored by a con­dom com­pa­ny, humans are the only ani­mal to take pro­phy­lac­tic mea­sures to ward off sex­u­al­ly trans­mit­ted dis­eases and unwant­ed preg­nan­cies.)

Like actress Isabel­la Rosselli­ni, cre­ator of the mar­velous Green Porno series, direc­tor Greg Brunk­alla has an eye for both the fas­ci­nat­ing and the absurd.

But with­out Rossellini’s plain­spo­ken nar­ra­tion, this Act of Love remains mys­te­ri­ous, until the end, when the iden­ti­ty of the crea­tures the human dancers are embody­ing is revealed. Those of us who aren’t zool­o­gists will like­ly find that their cloth­ing pro­vides the clear­est clues up until that point.

Bisex­u­al behav­ior is ram­pant in the ani­mal world, but out­side of a not par­tic­u­lar­ly kinky-seem­ing pink-clad group, the five cou­ples in the ad are all het­ero­sex­u­al.

Sagami’s Eng­lish web­site takes a broad­er view, with in-depth reports on the sex­u­al prac­tices of 73 dif­fer­ent beasts, birds and insects. Tax­on­o­my, habi­tat, and size range are not­ed — a sci­en­tif­ic approach to what could very well serve as non-human online dat­ing pro­files.

Australia’s Superb Fairy Wrens are into open rela­tion­ships.

Lioness­es’ unabashed pref­er­ence for vir­ile young males gets them dubbed “true cougars.”

And E.B. White fans may find them­selves shocked by the vig­or of cou­pling orb weavers, seem­ing­ly the one fact of spi­der life Char­lotte refrained from explain­ing to her piglet friend, Wilbur :

After mat­ing, the male sud­den­ly sev­ers the mat­ing thread so that both he and the female end up dan­gling at sep­a­rate ends. This may look like a very abrupt part­ing of ways, but not so fast! The male imme­di­ate­ly re-strings his mat­ing thread and resumes his strum­ming. And despite hav­ing been cast off so sud­den­ly, the female again falls under the spell of his courtship vibra­tions, trans­fer­ring to the new mat­ing thread to mate a sec­ond time. As soon as they do so, the male sev­ers the thread once more so that the two spi­ders can go through the whole rou­tine again…and again and again and again. 

Explore Sagami’s entire col­lec­tion of not-so-pri­vate ani­mal lives here.

Relat­ed Con­tent:

Watch Isabel­la Rosselli­ni Embody the Ani­mal Kingdom’s Most Shock­ing Mater­nal Instincts in Mam­mas

Watch Fam­i­ly Plan­ning, Walt Disney’s 1967 Sex Ed Pro­duc­tion, Star­ring Don­ald Duck

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

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

New LSD Research Provides the First Images of the Brain on Acid, and Hints at Its Potential to Promote Creativity

Talk to near­ly any vet­er­an of six­ties coun­ter­cul­ture, and you’re bound to hear a sto­ry or three about an acid trip. Some of those trips were bad, man, full of night­mare hal­lu­ci­na­tions and severe anx­i­ety. In oth­er accounts, how­ev­er, LSD gets cred­it for open­ing up the mind, releas­ing old pat­terns of thought, and free­ing up latent cre­ative ener­gy. From Ken Kesey to R. Crumb, these sto­ries abound. Are they cred­i­ble? Now that sci­en­tists have once again begun to study the drug—first syn­the­sized in 1938 and used in exper­i­ments in the 50s and 60s until it was banned near­ly everywhere—they are find­ing con­crete answers using the lat­est in brain imag­ing tech­nol­o­gy.

LSD Scans

And it appears that LSD—-in a con­trolled lab­o­ra­to­ry set­ting at least—“can be seen as revers­ing the more restrict­ed think­ing we devel­op from infan­cy to adult­hood.” So reports The Guardian in regard to exper­i­ments recent­ly con­duct­ed by neu­rophar­ma­col­o­gist David Nutt, for­mer “drugs advi­sor” for the British gov­ern­ment. Nutt gave vol­un­teer sub­jects an injec­tion of LSD, then cap­tured the first images ever record­ed of the brain on acid. You can see dra­mat­ic ani­ma­tions of those scans in the video at the top of the post, com­par­ing the brains of test sub­jects on the drug and those on place­bo, and see some sta­t­ic images above. The study, says Nutt, “is to neu­ro­science what the Hig­gs boson was to par­ti­cle physics.” In an inter­view with Nature, he describes LSD research as a “way to study the bio­log­i­cal phe­nom­e­non that is con­scious­ness.”

What the sub­jects expe­ri­enced won’t nec­es­sar­i­ly sur­prise any­one who has been on one of those leg­endary, mind-alter­ing trips: researchers found, writes The Guardian, that “under the drug, regions [of the brain] once seg­re­gat­ed spoke to one anoth­er,” pro­duc­ing hal­lu­ci­na­tions, “feel­ings of one­ness with the world,” and “a loss of per­son­al iden­ti­ty called ‘ego dis­so­lu­tion.’” How­ev­er, pri­or to this study, Nutt says, “we didn’t know how these pro­found effects were pro­duced.” There has been pre­cious lit­tle data, because “sci­en­tists were either scared or couldn’t be both­ered to over­come the enor­mous hur­dles to get this done.”

Work­ing with the Beck­ley Foun­da­tion, which stud­ies psy­choac­tive drugs and pro­motes pol­i­cy reform, Nutt and his col­league Robert Carhart-Har­ris crowd­fund­ed their study; in the video above, you can hear them both describe the goals and ratio­nale of their research. What they even­tu­al­ly found, The Guardian reports, was that “under the influ­ence, brain net­works that deal with vision, atten­tion, move­ment and hear­ing became far more con­nect­ed, lead­ing to what looked like a ‘more uni­fied brain.’”

But at the same time, oth­er net­works broke down. Scans revealed a loss of con­nec­tions between part of the brain called the parahip­pocam­pus and anoth­er region known as the ret­ro­s­ple­nial cor­tex.

Nutt and his col­leagues have more spe­cif­ic exper­i­ments planned, he tells Nature, “to look at how LSD can influ­ence cre­ativ­i­ty, and how the LSD state mim­ics the dream state.” And just as the drug was test­ed decades ago as a ther­a­py for addic­tions and psy­chi­atric dis­or­ders, Nutt hopes he can con­duct sim­i­lar tri­als. But his research has an even larg­er scope: As Aman­da Feild­ing, direc­tor of the Beck­ley Foun­da­tion, puts it, “We are final­ly unveil­ing the brain mech­a­nisms under­ly­ing the poten­tial of LSD, not only to heal, but also to deep­en our under­stand­ing of con­scious­ness itself.” We look for­ward to Nut­t’s fur­ther research find­ings. Per­haps some­day, LSD will be avail­able with a pre­scrip­tion. Until then, it’s prob­a­bly wise not to try these exper­i­ments at home.

Relat­ed Con­tent:

Woman Takes LSD in 1956: “I’ve Nev­er Seen Such Infi­nite Beau­ty in All My Life,” “I Wish I Could Talk in Tech­ni­col­or”

Artist Draws Nine Por­traits on LSD Dur­ing 1950s Research Exper­i­ment

Ken Kesey Talks About the Mean­ing of the Acid Tests in a Clas­sic Inter­view

R. Crumb Describes How He Dropped LSD in the 60s & Instant­ly Dis­cov­ered His Artis­tic Style

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

Carl Sagan Presents His “Baloney Detection Kit”: 8 Tools for Skeptical Thinking

Sagan_835

Pho­to by NASA via Wiki­me­dia Com­mons

It is some­times said that sci­ence and phi­los­o­phy have grown so far apart that they no longer rec­og­nize each oth­er. Per­haps they no longer need each oth­er. And yet some of the most thought­ful sci­en­tists of modernity—those who most ded­i­cat­ed their lives not only to dis­cov­er­ing nature’s mys­ter­ies, but to com­mu­ni­cat­ing those dis­cov­er­ies with the rest of us—have been ful­ly steeped in a philo­soph­i­cal tra­di­tion. This espe­cial­ly goes for Carl Sagan, per­haps the great­est sci­ence com­mu­ni­ca­tor of the past cen­tu­ry or so.

Sagan wrote a num­ber of pop­u­lar books for lay­folk in which he indulged not only his ten­den­cies as a “hope­less roman­tic,” writes Maria Popo­va, but also as a “bril­liant philoso­pher.” He did not fear to ven­ture into the realms of spir­i­tu­al desire, and did not mock those who did like­wise; and yet Sagan also did not hes­i­tate to defend rea­son against “society’s most shame­less untruths and out­ra­geous pro­pa­gan­da.” These under­tak­ings best come togeth­er in Sagan’s The Demon-Haunt­ed World, a book in which he very patient­ly explains how and why to think sci­en­tif­i­cal­ly, against the very human com­pul­sion to do any­thing but.

In one chap­ter of his book, “The Fine Art of Baloney Detec­tion,” Sagan laid out his method, propos­ing what he called “A Baloney Detec­tion Kit,” a set of intel­lec­tu­al tools that sci­en­tists use to sep­a­rate wish­ful think­ing from gen­uine prob­a­bil­i­ty. Sagan presents the con­tents of his kit as “tools for skep­ti­cal think­ing,” which he defines as “the means to con­struct, and to under­stand, a rea­soned argu­ment and—especially important—to rec­og­nize a fal­la­cious or fraud­u­lent argu­ment.” You can see his list of all eight tools, slight­ly abridged, below. These are all in Sagan’s words:

  • 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.

See the unabridged list at Brain Pick­ings, or read Sagan’s full chap­ter, ide­al­ly by get­ting a copy of The Demon-Haunt­ed World. As Popo­va notes, Sagan not only gives us suc­cinct instruc­tions for crit­i­cal think­ing, but he also makes a thor­ough list, with def­i­n­i­tions, of the ways rea­son fails us through “the most com­mon and per­ilous fal­lac­i­es of log­ic and rhetoric.” Sagan’s chap­ter on “Baloney Detec­tion” is, like the rest of the book, a high­ly lit­er­ary, per­son­al, engage­ment with the most press­ing sci­en­tif­ic con­sid­er­a­tions in our every­day life. And it is also an infor­mal yet rig­or­ous restate­ment of Aristotle’s clas­si­cal log­ic and rhetoric and Fran­cis Bacon’s nat­ur­al phi­los­o­phy.

Relat­ed Con­tent:

The Wis­dom of Carl Sagan Ani­mat­ed

Richard Feyn­man Cre­ates a Sim­ple Method for Telling Sci­ence From Pseu­do­science (1966)

Noam Chom­sky Calls Post­mod­ern Cri­tiques of Sci­ence Over-Inflat­ed “Poly­syl­lab­ic Tru­isms”

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

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