Posts Tagged ‘science’
July 1, 2015 | by Max Nelson
Poe’s vision of the cosmos and the art it inspired.
Since adolescence, Edgar Allan Poe had been picking fights with science. His second collection of poetry, published when he was all of twenty, opened with a mischievous sonnet needling what he called that “true daughter of Old Time”:
Why preyest thou thus upon the poet’s heart,
Vulture, whose wings are dull realities?
How should he love thee? or how deem thee wise,
Who wouldst not leave him in his wandering
To seek for treasure in the jewelled skies,
Albeit he soared with an undaunted wing?
By the time Poe wrote Eureka: A Prose Poem, the last major work he published before his premature death in 1849, his attitude toward certain men of science had softened. He eagerly absorbed—and sometimes rejected—theoretical works by the brilliant astronomer Sir John Herschel, the popular scientist J. P. Nichol, and the towering, eccentric naturalist Alexander von Humboldt, to whom Eureka was dedicated. He was still capable, on the other hand, of caustic put-downs such as the one he attributes early in the book to a scientist from the distant future. It’s in that figure’s prophetic voice that Poe chews out most of his contemporaries for “their pompous and infatuate proscription of all other roads to Truth than the two narrow and crooked paths—the one of creeping and the other of crawling—to which, in their infinite perversity, they have dared to confine the Soul—the Soul which loves nothing so well as to soar in those regions of illimitable intuition which are utterly incognizant of path.” Read More »
March 16, 2015 | by Sadie Stein
Some claim that Anna Atkins—born on this day in 1799, in Kent—was the first woman to take a photograph. Others that hers were the first photos ever printed in book form.
Atkins was a botanist, an artist, and an accomplished nature photographer. Her father was a scientist, and he encouraged his daughter’s early interest in botany. Both her father and her eventual husband, John Pelly Atkins, were friendly with the pioneering photographer and inventor William Henry Fox Talbot; it was probably Talbot who introduced her to the techniques she would come to use in her art.
In her books on British algae and her later work on plants and ferns, Atkins worked by contact-printing cyanotype photograms, and by “photogenic drawing,” the process by which light-sensitive paper is exposed to the sun. Read More »
November 4, 2014 | by Dan Piepenbring
- Edgar Allan Poe filed for bankruptcy in 1842. Here’s a long list of his debts, with creditors listed in Philadelphia, Richmond, and New York, and orderly columns of numbers that grow large enough to give you a sympathetic panic attack.
- “If ambitious writers work at the boundaries of the written language (as they should), then they ought do it from a path of mastery, not ignorance; broken rules carry no power if writers and readers don’t notice the transgressions. Proper usage shows us where the earth is, so that, when the time comes, we know what it means to fly.”
- Not unrelatedly: “Dickens published an essay on slang, probably by George Augustus Sala. The 1853 article expressed the view that either slang should be ‘banished, prohibited’ or that there should be a New Dictionary that would ‘give a local habitation and a name to all the little by-blows of language skulking and rambling about our speech, like the ragged little Bedouins about our shameless streets, and give them a settlement and a parish.’ ”
- In which Ann Patchett reminds readers of the New York Times that she’s not married to her dog.
- “I found it odd that there had never been a scientist as a Man Booker judge. There have been many non-literary types amongst the judges: a former spy, a former dancer, a Downton Abbey actor—but science, apparently, was a step too far. Until this year, when I joined the judging panel.”
September 29, 2014 | by Dan Piepenbring
Sadie Stein wrote earlier today about Balzac, who was famously enamored of coffee—especially coffee on an empty stomach—as a creative agent, so much so that it probably killed him. On the other end of the spectrum is J. M. Holaday, a—scholar? an armchair scientist? he’s a man about whom Google reveals little—whose sole publication, an essay called “Coffee-Drinking and Blindness,” survives him. The piece appeared in the North American Review in September 1888. Rhetorically marvelous if scientifically unsound, it argues emphatically that drinking too much coffee will make you go blind. And this was not, to Holaday’s mind, mere conjecture. He begins his essay with bold certitude:
I am satisfied that defective vision and blindness will pretty soon be a prominent characteristic among the American people … I make this assertion without having seen any statistics whatever on the subject of blindness. I found out long ago that a cup of coffee leaves a night-shade on the brain which continues longer than an eclipse of the sun. For some time past I have been consulting with different persons in Council Bluffs, who are suffering with failing sight, and in each instance I ascertained that the unfortunate person was and is a regular coffee-drinker.
Indubitable evidence! Correlation does imply causation! Lest you fear that Holaday is a plant—a tea lobbyist, maybe, or a cola manufacturer—he’s quick to note that he was once fond of coffee himself, though he “now feel[s] free of the coffee-drinking vice, and will have no more trouble with it unless I shall again fall a victim to some church supper or to the magnetic blandishments of some buoyant hostess.” Read More »
August 27, 2014 | by Dan Piepenbring
- Our poetry editor, Robyn Creswell, on the New Museum’s current show, “Here and Elsewhere”: “So many of today’s iconic images are made in the Middle East … For visual artists working from the region, this surfeit of spectacles poses a challenge. When everyday life—at least as it is experienced via a computer screen—regularly throws up these images of terror and drama and the technological sublime, how can a photographer compete?”
- Ben Lerner at the Met: “What interests me about fiction … is in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.”
- Things that—according to the students and faculty of the first Ashbery Home School, a new writing conference in Hudson, New York—John Ashbery is “the ultimate example of”: “surrealism, realism, hyperrealism, distance, proximity, translation, tradition, the grotesque, the beautiful, the blind, the all-seeing, the old, the young, the queer, the hetero, the hedgehog, the fox, the human, the alien, the bric-a-brac in the cupboard, the masterpiece on the wall, painting, cinema, architecture, life.” (NB the author of this list describes it as “incomplete and incompetent.”)
- A brief history of the problem of sorting, classifying, and otherwise categorizing things: “It is tempting to think making categories is a straightforward scientific enterprise, and that debates will be clearly settled once we’ve amassed enough data. But the history of science shows this not to be the case … The nature of scientific categories is not merely an empirical issue; it’s also a philosophical one, and one affected by self-interest and social forces.”
- Today, in posthumous gifts: more than three thousand of Doris Lessing’s books are to be donated to a public library in Zimbabwe, where she lived for twenty-five years.
August 18, 2014 | by Dan Piepenbring
As evidenced by its name, the 1783 Great Meteor was, yes, great and meteoric. At the time, not much else could be said about it with certainty—indeed, when it graced the skies of the British Isles 231 years ago today, it prompted a scientific (or pseudoscientific) crisis. Experts rushed to answer that burning—pun intended—question: What the hell was that?
On the night in question, Paul Sandby, a landscape painter, happened to be with Tiberius Cavallo, an Italian philosopher, hanging out on the terrace of Windsor Castle, enjoying the summer night, taking in the solemn spectacle of the sky, when, as Cavallo later wrote,
some flashes of lambent light, much like the aurora borealis, were first observed on the northern part of the heavens, which were soon perceived to proceed from a roundish luminous body, whose apparent diameter equaled half that of the moon, and almost stationary in the same point of the heavens … This ball at first appeared of a faint bluish light, perhaps from appearing just kindled, or from its appearing through the haziness; but it gradually increased its light, and soon began to move, at first ascending above the horizon in an oblique direction towards the east. Its course in this direction was very short, perhaps of five or six degrees; after which it directed its course towards the east … Its light was prodigious. Every object appeared very distinct; the whole face of the country, in that beautiful prospect before the terrace, being instantly illuminated.
I like the blend of specificity and awe here: Cavallo takes pains to describe the event as accurately as he can, but his account is suffused with the kind of wonder that only comes from confusion. How exciting it must’ve been, not knowing what was happening, not having the rote assurance of a scientific explanation. This was a time, after all, when one could still refer to the skies as “the heavens” without the slightest trace of irony.
In what amounts to an early example of crowdsourcing, artists and scientists came together to corroborate and dispute various accounts of the meteor. Sandby turned in an excellent watercolor of the phenomenon, and a schoolmaster named Henry Robinson made the engraving below. The meteor became the subject of wide speculation in the Philosophical Transactions of the Royal Society; London Magazine ran an absurd account from a British lieutenant who claimed to have seen the meteor reverse its course, “moving back again, the contrary way to which it came.”