What Kind of Bird Is That?: A Free App From Cornell Will Give You the Answer

Part of the mis­sion of the Cor­nell Lab of Ornithol­o­gy is to help peo­ple answer the ques­tion, “What is that bird?” And so, in col­lab­o­ra­tion with the Visi­pedia research project, they’ve designed Mer­lin, a free app avail­able on iTunes and Google Play.

The app asks you a few basic ques­tions — what’s the col­or, size, and behav­ior of the bird you saw, and also when and where did you see it — and then, draw­ing on a data­base of infor­ma­tion gath­ered by Cor­nell experts and thou­sands of bird enthu­si­asts, the app will give you a short­list of pos­si­bil­i­ties. From there you can zero in on the actu­al bird you saw.

The free app (intro­duced in the video above) launched with “285 species most com­mon­ly encoun­tered in North Amer­i­ca.” But Cor­nell plans to add more species and fea­tures over time. Mean­while, the cur­rent app already offers “more than 2,000 stun­ning images tak­en by top pho­tog­ra­phers,” “more than 1,000 audio record­ings from the Macaulay Library, iden­ti­fi­ca­tion tips from experts, and range maps from the Birds of North Amer­i­ca Online.”

Hap­py bird­watch­ing!

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!

via Cor­nell/Petapix­el

Relat­ed Con­tent:

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

A Bird Bal­let in South­ern France

A Stun­ning, Chance Encounter With Nature

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10 Million Years of Evolution Visualized in an Elegant, 5‑Foot Long Infographic from 1931

Click here to see the entire his­tom­ap in large, zoomable, for­mat.

The ear­ly decades of the twen­ti­eth cen­tu­ry belonged to Cecil B. DeMille and his epic films both Bib­li­cal and clas­si­cal: The Ten Com­mand­ments, Cleopa­tra, Sam­son and Delilah. The grand scale of these pseu­do-his­to­ries required the most up-to-date cin­e­mat­ic inven­tion of the day, and the most impe­r­i­al vision, one lat­er decades looked upon rather cyn­i­cal­ly. But just as the epic has roared back with a vengeance—with tech­no­log­i­cal feats that make The Great­est Show on Earth look like com­mu­ni­ty theater—so anoth­er medi­um of ambi­tious scope once pop­u­lar between the wars has made a reap­pear­ance: the his­tor­i­cal info­graph­ic, or as it was called back then, the “histomap”—5‑foot long visu­al his­to­ries of a vari­ety of dis­ci­plines.

As with film, infor­ma­tion tech­nol­o­gy has advanced to such a degree to make this ear­ly means of con­dens­ing huge amounts of data per­haps seem quaint. But if we imag­ine a world pre-inter­net, when the prospect of visu­al­iz­ing a sub­ject as com­plex as, say, evo­lu­tion, would be daunt­ing indeed, we might just find the his­tom­ap as impres­sive a means of con­vey­ing infor­ma­tion as its ear­ly read­ers did. These huge graphs of big ideas, writes Rebec­ca Onion at Slate, fit “with a trend in non­fic­tion book pub­lish­ing of the 1920s and 1930s: the ‘out­line,’ in which large sub­jects (the his­to­ry of the world! every school of phi­los­o­phy! All of mod­ern physics!) were dis­tilled into a form com­pre­hen­si­ble to the most une­d­u­cat­ed lay­man.”

We’ve pre­vi­ous­ly fea­tured that 1931 “His­to­ry of the World!” his­tom­ap, an impres­sive con­dens­ing of 4000 years of human activ­i­ty. The evo­lu­tion graph­ic you see here, also from 1931 and “arranged” by John B. Sparks, is equal­ly impres­sive, and speaks to the times in ways that DeMille’s Bible movies did as well. Bear in mind that the Scopes Mon­key Tri­al had only con­clud­ed six years ear­li­er, and the country—as it is again today—was hot­ly divid­ed over the sub­ject rep­re­sent­ed here. Nonethe­less, Sparks and pub­lish­er Rand McNal­ly game­ly pre­sent­ed this “Sto­ry of the Emer­gence and Pro­gres­sion of Life” with con­fi­dent pre­ci­sion and with­out apol­o­gy.

I couldn’t begin to tell you how the sci­ence here has aged, though some of it, I’d sus­pect, not par­tic­u­lar­ly well. In any case, the form of this ele­gant data map, with its grace­ful lines of descent flow­ing down the page like mag­ma, com­ple­ments its con­tent. Rather than pre­sent­ing the the­o­ry of evo­lu­tion as a for­gone con­clu­sion or belief, Sparks’ graph­ic lays out all of the evi­dence, and fits it togeth­er neat­ly and com­pre­hen­sive­ly. Some mod­ern evo­lu­tion info­graph­ics sur­pass the visu­al appeal, but not the lev­el of sci­en­tif­ic detail shown here. Oth­ers reduce the sci­ence, and the design, to the lev­el of over­sim­pli­fied ide­ol­o­gy. And though we may have enough his­tor­i­cal dis­tance to make info­graph­ic­ss of hun­dreds of years of evo­lu­tion­ary thought, it may seem that the tech­nol­o­gy of the evo­lu­tion info­graph­ic may not have advanced as much as we might expect.

Relat­ed Con­tent:

4000 Years of His­to­ry Dis­played in a 5‑Foot-Long “His­tom­ap” (Ear­ly Info­graph­ic) From 1931

6,000 Years of His­to­ry Visu­al­ized in a 23-Foot-Long Time­line of World His­to­ry, Cre­at­ed in 1871

Watch 570 Mil­lion Years of Evo­lu­tion on Earth in 60 Sec­onds

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

The Science of Singing: New, High-Speed MRI Machine Images Man Singing ‘If I Only Had a Brain’

Back in Decem­ber, Ayun Hal­l­i­day took you inside an MRI machine to explore the neu­ro­science of jazz impro­vi­sa­tion and musi­cal cre­ativ­i­ty. Along the way, you got to see Johns Hop­kins sur­geon Charles Limb jam on a key­board inside one of those crowd­ed, claus­tro­pho­bia-induc­ing tubes. How could you beat that for enter­tain­ment?

Today, we return with a new video show­ing anoth­er way the MRI machine is giv­ing sci­en­tists new insights into the mak­ing of music. This time the focus is on how we pro­duce sounds when we sing. When “we sing or speak, the vocal folds—the two small pieces of tis­sue [in our neck]—come togeth­er and, as air pass­es over them, they vibrate,” and pro­duce sound. That’s basi­cal­ly what hap­pens. We know that. But the typ­i­cal MRI machine, cap­tur­ing about 10 frames per sec­ond, is too slow to real­ly let sci­en­tists break down the action of the lar­ynx. Enter the new, high speed MRI machine at the Beck­man Insti­tute at the Uni­ver­si­ty of Illi­nois, work­ing at 100 frames per sec­ond. It does the trick.

Above, you can see the new machine in action, as a vol­un­teer sings ‘If I Only Had a Brain.’ Get more of the back­sto­ry over at the Beck­man Insti­tute.

via Men­tal Floss

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and  share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

Relat­ed Con­tent:

This is Your Brain on Jazz Impro­vi­sa­tion: The Neu­ro­science of Cre­ativ­i­ty

Why We Love Rep­e­ti­tion in Music: Explained in a New TED-Ed Ani­ma­tion

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High-Tech Japanese Camera Proves That the Shape of a Wine Glass Affects the Flavor of Wines

Japan­ese sci­en­tists have devel­oped a cam­era that con­firms what we’ve long sensed: “wine glass shape has a very sophis­ti­cat­ed func­tion­al design for tast­ing and enjoy­ing wine.” That’s what Kohji Mit­sub­ayashi, a researcher at the Tokyo Med­ical and Den­tal Uni­ver­si­ty, told Chem­istry World.

It’s a lit­tle com­pli­cat­ed, and I’d encour­age you to read this Chem­istry World arti­cle, but the upshot is this: Mitsubayashi’s team used a spe­cial cam­era to ana­lyze “dif­fer­ent wines, in dif­fer­ent glass­es – includ­ing dif­fer­ent shaped wine glass­es, a mar­ti­ni glass and a straight glass – at dif­fer­ent tem­per­a­tures.” And they found that “dif­fer­ent glass shapes and tem­per­a­tures can bring out com­plete­ly dif­fer­ent bou­quets and fin­ish­es from the same wine.”

In the video above, you can see the new-fan­gled cam­era in action, demon­strat­ing how wines at dif­fer­ent tem­per­a­tures (some­thing that’s affect­ed by the geom­e­try of the glass) release dif­fer­ent vapors. And those trans­late into dif­fer­ent fla­vors. Get more on this at Chem­istry World.

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and  share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

Relat­ed Con­tent:

How to Open a Wine Bot­tle with Your Shoe for the DIY Con­nois­seur

The Physics of Guin­ness Beer Demys­ti­fied

The Physics of Cof­fee Rings Final­ly Explained

Paper Animation Tells Curious Story of How a Meteorologist Theorized Pangaea & Continental Drift (1910)

Over a cen­tu­ry ago, the Ger­man mete­o­rol­o­gist Alfred Wegen­er (1880–1930) put forth a the­o­ry that changed how we look at an entire­ly dif­fer­ent sci­en­tif­ic dis­ci­pline — geol­o­gy. He argued that the con­ti­nents once formed a sin­gle land­mass called “Pan­gaea,” and that con­ti­nen­tal drift moved them apart slow­ly but ever so sure­ly. The sto­ry of how a mete­o­rol­o­gist changed the face of geol­o­gy gets told in a nice paper ani­ma­tion cre­at­ed by The New York Times. It comes nar­rat­ed by Mott Greene (author of the forth­com­ing book Alfred Wegen­er: Sci­ence, Explo­ration and the The­o­ry of Con­ti­nen­tal Drift) and Nao­mi OreskesPro­fes­sor of the His­to­ry of Sci­ence at Har­vard. You can read the NYTimes arti­cle asso­ci­at­ed with the edu­ca­tion­al video here. Cours­es on geol­o­gy can be found in our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

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!

What It’s Like to Be Color Blind and See Art in Color for the First Time

We all know that say­ing about walk­ing in anoth­er’s shoes, but what about see­ing through anoth­er’s eye­balls? I’m not talk­ing about per­spec­tive. I’m talk­ing about col­or. As in I see it, and my hus­band does­n’t. At least not the way I do.

His cop­ing mech­a­nism is to chal­lenge me when­ev­er I refer to some­thing as “blue.” To him, it’s grey, or brown, or some oth­er non-blue shade. He wants me to see it that way too. To admit that I am wrong. For my part, I feel it’s impor­tant that the per­son to whom I’m mar­ried acknowl­edge that there’s no way my favorite bowl can be the col­or of cement, no mat­ter what his cone cell recep­tors are telling him.

Per­haps he’d have bet­ter luck ask­ing patient strangers to describe col­or to him, as blind-from-birth film crit­ic Tom­my Edi­son does below. Hmm. Col­or may be more sub­jec­tive than my hus­band’s and my spec­tral stand-offs would sug­gest.

Accord­ing to EnChro­ma, the com­pa­ny that designed and sells the col­or-cor­rect­ing lens­es the onscreen guinea pigs are seen wear­ing in the video up top, an esti­mat­ed 300 mil­lion peo­ple suf­fer from some form of col­or blind­ness. Their glass­es offer some of those three mil­lion a chance at see­ing red in the lit­er­al sense. The video par­tic­i­pants are, not sur­pris­ing­ly, blown away by their first encounter with a Cray­ola-col­ored world.

Hav­ing refreshed myself on the struc­tures of the eye, I took the col­or blind­ness test on EnChro­ma’s web­site. I test­ed nor­mal, hav­ing iden­ti­fied the hid­den (or in my case not-so-hid­den) num­bers in a vari­ety of vir­tu­al mosaics.

My col­or blind friend, Bob, agreed to take it too, pro­vid­ed I muz­zle myself from offer­ing the sort of com­men­tary to which hus­bands are sub­ject­ed. (Whad­daya mean you can’t see it!? It’s bright fuch­sia!!!) He pulled a pret­ty heavy duty protan defi­cien­cy, oth­er­wise known as red-green col­or blind­ness.

Accord­ing to the man­u­fac­tur­er, EnChro­ma glass­es are unlike­ly to col­or his world. The best he could hope for is a slight improve­ment after weeks of wear­ing.

Bum­mer, except that he lives in Chica­go, where the Muse­um of Con­tem­po­rary Art offers EnChro­ma Cx loan­ers at the recep­tion desk. Like many such insti­tu­tions, the MCA is active­ly seek­ing ways to improve acces­si­bil­i­ty. (The museum’s col­or blind direc­tor of com­mu­ni­ca­tions rec­om­mends hav­ing a look at Mar­tin Creed’s Work No. 1351, a col­or­ful lat­tice in the cafe. See right below.)

Creed_JulyInstall_03

Per­haps Bob will get a peek at some­thing he has­n’t seen before. Like red. Oth­ers will expe­ri­ence a rev­e­la­tion. Mean­while, an insuf­fer­able non-col­or­blind indi­vid­ual such as myself might get an effect akin to an Insta­gram fil­ter. My col­ors will pop.

“Unfair,” say Bob and my hus­band. I have to agree. Should the Muse­um of Con­tem­po­rary Art offer col­or-leech­ing glass­es, I will wear them, even if the frames are real­ly ugly. Until then, the video below pro­vides some sense of what those of us who see the full range of col­or aren’t miss­ing.

via Vice

Relat­ed Con­tent:

The Pra­do Muse­um Cre­ates the First Art Exhi­bi­tion for the Visu­al­ly Impaired, Using 3D Print­ing

Jorge Luis Borges, After Going Blind, Draws a Self-Por­trait

Helen Keller Speaks About Her Great­est Regret — Nev­er Mas­ter­ing Speech

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

What Ignited Richard Feynman’s Love of Science Revealed in an Animated Video

The Exper­i­menters, a three-episode series that ani­mates the words of sci­en­tif­ic inno­va­tors, con­cludes with the reflec­tions of Richard Feyn­man, the charis­mat­ic, Nobel-Prize win­ning physi­cist who did so much to make sci­ence engag­ing to a broad­er pub­lic. Feyn­man knew how to pop­u­lar­ize sci­ence — to make the process of sci­en­tif­ic dis­cov­ery and explo­ration so con­ta­gious — because he learned from a good teacher: his father. You can learn more about that by watch­ing the ani­mat­ed video above. And don’t miss the pre­vi­ous two episodes in The Exper­i­menters series. They touched on the life and thought of Buck­min­ster Fuller and Jane Goodall.

Relat­ed Con­tent:

The Feyn­man Lec­tures on Physics, The Most Pop­u­lar Physics Book Ever Writ­ten, Now Com­plete­ly Online

‘The Char­ac­ter of Phys­i­cal Law’: Richard Feynman’s Leg­endary Course Pre­sent­ed at Cor­nell, 1964

Richard Feyn­man Presents Quan­tum Elec­tro­dy­nam­ics for the Non­Sci­en­tist

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Do You See Marilyn Monroe or Albert Einstein in This Photo? An Amazing Eye Test Based on MIT Research

This visu­al curios­i­ty beats the black/gold dress craze of last month. The video above asks you to look at a pho­to and decide whether you see Albert Ein­stein or Mar­i­lyn Mon­roe — two 20th cen­tu­ry icons who look pret­ty much noth­ing alike. If you say Albert, your eyes are in good shape. If you say Mar­i­lyn, it’s appar­ent­ly time to pay a vis­it to the optometrist.

MonroeEnstein_AudeOliva2007

The sci­ence dis­cussed here is based on the research of Aude Oli­va, who works on Com­pu­ta­tion­al Per­cep­tion and Cog­ni­tion at MIT.  You can see the orig­i­nal “Marylin Ein­stein” hybrid image above, which Aude cre­at­ed for the March 31st 2007 issue of New Sci­en­tist mag­a­zine. More back­ground info on hybrid images can be found on this MIT page. Plus find a gallery of hybrid images here.

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:

The 430 Books in Mar­i­lyn Monroe’s Library: How Many Have You Read?

Albert Ein­stein Reads ‘The Com­mon Lan­guage of Sci­ence’ (1941)

A Sneak Peek at Junot Díaz’s Syl­labi for His MIT Writ­ing Class­es, and the Nov­els on His Read­ing List

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