Showing posts with label culture. Show all posts
Showing posts with label culture. Show all posts

October 25, 2016

The Memory of Mankind Archive: The Greatest Time Capsule Ever


                                                               



Etched with strange pictograms, lines and wedge-shaped markings, they lay buried in the dusty desert earth of Iraq for thousands of years. The clay tablets left by the ancient Sumerians around 5,000 years ago provide what are thought to be the earliest written record of a long dead people.

Although it took decades for archaeologists to decipher the mysterious language preserved on the slabs, they have provided glimpses of what life was like at the dawn of civilisation.

Similar tablets and carved stones have been unearthed at the sites of other mighty cultures that have long since vanished – from the hieroglyphics of the Ancient Egyptians to the inscriptions of the Maya of Mesoamerica.

The stories and details they contain have stood the test of time, surviving through the millennia to be unearthed and deciphered by modern historians. But there are fears that future archaeologists may not benefit from the same sort of immutable record when they come to search for evidence of our own civilisation. We live in a digital world where information is stored as lists of tiny electronic ones and zeros that can be edited or even wiped clean by a few accidental strokes on a keyboard. “Unfortunately we live in an age that will leave hardly any written traces,” explained Martin Kunze.

Kunze’s solution is the Memory of Mankind project, a collaboration between academics, universities, newspapers and libraries to create a modern version of those first ancient Sumerian tablets discovered in the desert. 

Their plan is to gather together the accumulated knowledge of our time and store it underground in the caverns carved out in one of the oldest salt mines in the world, in the mountains of Austria’s picturesque Salzkammergut. “The main point of what we are doing is to store information in a way that it is readable in the future. It is a backup of our knowledge, our history and our stories,” says Kunze.

Creating a stone “time capsule” may seem archaic in the age where most of our knowledge now floats around the internet cloud, but a slide back into the technological dark ages is not beyond comprehension. The advent of the internet has seen people have more information at their fingertips than at any previous point in human history. Yet the huge repositories of knowledge we have built up are perilously vulnerable.

Ever more information is being stored digitally on remote computer servers and hard disks. How many of us have hard copies of the photographs we took on our last holiday, for example.

The situation gets more serious when we consider scientific papers that are now solely published online. Entire catalogues of video footage from news broadcasters, television and film are stored digitally. Official documents and government papers reside in digital libraries.

Yet a conference of space weather scientists, together with officials from Nasa and the US Government, earlier this year warned of the fragile nature of all this digital information. Charged particles thrown out by the sun in a powerful solar storm could trigger electromagnetic surges that could render our electronic devices useless and wipe data stored in memory drives.

Such storms are a real threat, and they happen relatively regularly. A report produced by the British Government last year highlighted that severe solar storms appear to happen every 100 years.

The last major coronal mass ejection to hit the Earth, known as the Carrington event, was in 1859 and is thought to have been the biggest in 500 years. It blew telegraph systems all over the world and pylons threw sparks. In the age of the internet, such an event would be catastrophic.

But there are other threats too – malicious hackers or even careless officials could tamper with these digital records or delete them altogether. And what if we simply lose the ability to read this information? Technology is changing so fast that media formats are quickly rendered obsolete. Minidiscs, VHS and the humble floppy disk have become outdated within decades.

                                                                  


Few computers even come with DVD drives now, while giving the current generation of teenagers a floppy disk would leave them flummoxed. If information is stored on one of these formats and the technology needed to access it disappears completely, then it could be lost forever.

Hence the desire to keep a hard copy of our most important documents. Unfortunately, even the more traditional forms of storing information are also unlikely to keep information safe for more than a few centuries. While we have some paper manuscripts that have survived for hundreds of years – and in the case of papyrus scrolls, for thousands – unless they are stored in the right conditions, most disintegrate to dust after a couple of hundred years. Newspaper can decompose within six weeks if it gets wet.

“It is very likely that in the long term the only traces of our present activities will be global warming, nuclear waste and Red Bull cans,” says Kunze. “The amount of data is inflating rapidly, so the real challenge becomes selecting what we want to keep for our grandchildren and those that come after them.”

Which is why Kunze and his colleagues are instead looking further back in time for inspiration, to those Sumerian stone tablets. The Memory of Mankind team hopes to create an indelible record of our way of life by imprinting official documents, details about our culture, scientific papers, biographies, popular novels, news stories and even images onto square ceramic plates measuring eight inches (20cm) across.

This hinges on a special process that Kunze describes as “ceramic microfilm”, which he says is the most durable data storage system in the world. The flat ceramic plates are covered with a dark coating and a high energy laser is then used to write into them.

Each of these tablets can hold up to five million characters – about the same as a four-hundred-page book. They are acid- and alkali-resistant and can withstand temperatures of 1300C. A second type of tablet can carry colour pictures and diagrams along with 50,000 characters before being sealed with a transparent glaze.

The plates are then stacked inside ceramic boxes and tucked into the dark caverns of a salt mine in Hallstatt, Austria. As a resting place for what could be described as the ultimate time capsule, it is impressive. In the right light the walls still glisten with the remnants of salt, which extracts moisture and desiccates the air.

The salt itself has a Plasticine-like property that helps to seal fractures and cracks, keeping the tomb watertight. Buried beneath millions of tonnes of rock, the records will be able to survive for millennia and perhaps even entire ice ages, Kunze believes.

In some distant future after our own civilisation has vanished, they could prove invaluable to any who find them. They could help resurrect forgotten knowledge for cultures less advanced than our own, or provide a wealth of historical information for more advanced civilisations to ensure our own achievements, and our mistakes, can be learned from.
But it could also have value in the shorter term too.

“We are trying to create something that will not only be a collection of information for a distant future, but it will also be a gift for our grandchildren,” says Kunze. “Memory of Mankind can serve as a backup of knowledge in case of an event like war, a pandemic or a meteorite that throws us back centuries within two or three generations. A society can lose skills and knowledge very quickly – in the 6th Century, Europe largely lost the ability to read and write within three generations.”

Already the Memory of Mankind archive contains an eclectic glimpse of our society. Among the information etched into the ceramic plates are books summarising the history of individual countries around the world. Towns and villages have also opted to include their own local histories. A thousand of the world’s most important books – chosen by combining published lists using an algorithm developed by the University of Vienna – will be cut into the coating on the ceramic plates.

Museums are including images of precious objects in their collections along with descriptions of what we have learned about them. The Krumau Madonna – a sculpture dating to the late 14th Century currently sitting in the Museum of Art History in Vienna – is already there, along with paintings by the Baroque artists Peter Paul Rubens and Anthony van Dyck.

There are plates featuring pictures of fossils – dinosaurs, prehistoric fish and extinct ammonites – alongside a description of what we know about them. Even our current understanding of our own origins are included, with pictures of one of the earliest examples of sculpture ever found – the Venus of Willendorf.

                                                         


Much of the material included on the tablets is in German, but there are tablets in English, French and other languages.

A handful of celebrities have also found themselves immortalised in the salt-lined vaults. Baywatch star and singer David Hasselhoff has a particularly lengthy entry as does German singer Nena who had a hit with 99 Red Balloons in the 1980s. Nestled among them is a plate detailing the story of Edward Snowden and his leak of classified material from the US National Security Agency.

The University of Vienna has been placing prize winning PhD dissertations and scientific papers onto the tablets. Included in the archive are plates describing genetic modification and bioengineering patents, explaining what today’s scientists have achieved and how they managed it.

And alongside research, everyday objects like washing machines, smartphones and televisions are also being documented as a record of what life is like today.

The plates also serve as a warning for future generations – with sites of nuclear waste dumps pinpointed so future generations might know to avoid them or to clean them up if they have the technology. Newspapers have been asked to send their daily editorials to provide a repository of opinions as well as facts.

In many ways, the real problem is what not to include. “We probably have about 0.1% of the antique literature yet in the modern world publishing is as easy as posting something on the internet or sending a tweet,” explains Kunze. “Publications about science, space flight and medicine – the things we really spend money on – drown in the mass of data we produce. The Large Hadron Collider produces something like 30 Petabytes of data a year, but this is equal to just 0.003% of annual internet traffic. “A random fragment of 0.1% of our present day data will result in a very distorted view of our time.”

To tackle this, Kunze and his colleagues are organising a conference in November next year to bring scientists, historians, archaeologists, linguists and philosophers together to create a blueprint for selecting content for the project. The team also hope to immortalise glimpses of mundane, everyday life as members of the public are encouraged to create tablets of their own. “We are saving cooking recipes and stories of love and personal events,” adds Kunze. “On one plate, a little girl has included three photographs of her confirmation and written a short bit of text about it. They give a glimpse of everyday life that will be very valuable.”

Preserved tweets
Memory of Mankind is not the only project to face the daunting task of preserving humanity’s accumulated knowledge. Librarians around the world are also looking at the knotty problem of how to save the information from the modern age.

The University of California Los Angeles, for instance, is archiving tweets related to major events and preserving them in their own archives. “We are collecting tweets from Cairo on the day of the January 25th revolution for example,” explained Todd Grappone, associate university librarian. “We are then translating them into multiple languages and saving them in file formats that are likely to be robust for the future. We are only doing it digitally at the moment as we have something like 1,000 cellphone videos from that event alone, but the value of that is enormous.”

Another project, called the Human Document Project, is aiming to record information on wafers of tungsten/silicon nitride. Initially they have been etching them with dozens of tiny QR codes – a type of two-dimensional barcode – which can be read using smartphones, but they say the final disks will hold information written in a form that can be read using a microscope.

                                                                 


Leon Abelmann, a researcher at Twente University in Enschede, the Netherlands, is one of the driving forces behind the project. He says that they are hoping to produce something that will be able to survive for one million years and are now starting to collaborate with the Memory of Mankind. “We would be really happy if we found information left for us by an intelligence that has already been extinct for a million years,” he said. “So we think future intelligent beings will be too. The mere fact that we need to take a helicopter view of ourselves will hopefully make us realise that the differences between us are trivial.”

Buried under a mountain, it may seem unlikely that any future generations would be able to find these tablets. For this reason, Memory of Mankind will has engraved some small tokens with a map pinpointing the archives’ location, which they will then bury at strategic places around the world. Other tokens are being entrusted to 50 holders who will pass them onto the next generation.

To ensure those who do find it can actually read what is in there, the Memory of Mankind team has been creating their own Rosetta Stone – thousands of images labelled with their names and meanings.

                                                            


All of which gives a hint at the ambition of what they are trying to do. The individuals who unearth this gold-mine of knowledge could be very different from our own. In a few thousand years civilisation may have advanced beyond our reckoning or descended back to the dark ages. Perhaps it will not even be humans who end up uncovering our memories. “We could be looking at some other form of intelligent life,” adds Kunze.

We will never know what those future archaeologists will make of our civilisation when they wipe the dust away from the tablets in thousands of years’ time, but we can hope that like the ancient Sumarians, we will not be forgotten.

By Richard Gray

With many thanks to BBC Future
Posts on Art can be found here.
Posts on Archeology can be found here.
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Anemoia:Nostalgia For A Time You’ve Never Known
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Who Was Cleopatra? 


October 08, 2016

Can You Correctly Pronounce Every Word In This Poem?


                                                              


                                                      

If you can pronounce correctly every word in this poem, you will be speaking English better than 90% of the native English speakers in the world.

 

After trying the verses, a Frenchman said he’d prefer six months of hard labour to reading six lines aloud, and we’ll be honest with you, we struggled with parts of it.
Dearest creature in creation,
Study English pronunciation.
I will teach you in my verse
Sounds like corpse, corps, horse, and worse.
I will keep you, Suzy, busy,
Make your head with heat grow dizzy.
Tear in eye, your dress will tear.
So shall I! Oh hear my prayer.
Just compare heart, beard, and heard,
Dies and diet, lord and word,
Sword and sward, retain and Britain.
(Mind the latter, how it’s written.)
Now I surely will not plague you
With such words as plaque and ague.
But be careful how you speak:
Say break and steak, but bleak and streak;
Cloven, oven, how and low,
Script, receipt, show, poem, and toe.
Hear me say, devoid of trickery,
Daughter, laughter, and Terpsichore,
Typhoid, measles, topsails, aisles,
Exiles, similes, and reviles;
Scholar, vicar, and cigar,
Solar, mica, war and far;
One, anemone, Balmoral,
Kitchen, lichen, laundry, laurel;
Gertrude, German, wind and mind,
Scene, Melpomene, mankind.
Billet does not rhyme with ballet,
Bouquet, wallet, mallet, chalet.
Blood and flood are not like food,
Nor is mould like should and would.
Viscous, viscount, load and broad,
Toward, to forward, to reward.
And your pronunciation’s OK
When you correctly say croquet,
Rounded, wounded, grieve and sieve,
Friend and fiend, alive and live.
Ivy, privy, famous; clamour
And enamour rhyme with hammer.
River, rival, tomb, bomb, comb,
Doll and roll and some and home.
Stranger does not rhyme with anger,
Neither does devour with clangour.
Souls but foul, haunt but aunt,
Font, front, wont, want, grand, and grant,
Shoes, goes, does. Now first say finger,
And then singer, ginger, linger,
Real, zeal, mauve, gauze, gouge and gauge,
Marriage, foliage, mirage, and age.
Query does not rhyme with very,
Nor does fury sound like bury.
Dost, lost, post and doth, cloth, loth.
Job, nob, bosom, transom, oath.
Though the differences seem little,
We say actual but victual.
Refer does not rhyme with deafer.
Fe0ffer does, and zephyr, heifer.
Mint, pint, senate and sedate;
Dull, bull, and George ate late.
Scenic, Arabic, Pacific,
Science, conscience, scientific.
Liberty, library, heave and heaven,
Rachel, ache, moustache, eleven.
We say hallowed, but allowed,
People, leopard, towed, but vowed.
Mark the differences, moreover,
Between mover, cover, clover;
Leeches, breeches, wise, precise,
Chalice, but police and lice;
Camel, constable, unstable,
Principle, disciple, label.
Petal, panel, and canal,
Wait, surprise, plait, promise, pal.
Worm and storm, chaise, chaos, chair,
Senator, spectator, mayor.
Tour, but our and succour, four.
Gas, alas, and Arkansas.
Sea, idea, Korea, area,
Psalm, Maria, but malaria.
Youth, south, southern, cleanse and clean.
Doctrine, turpentine, marine.
Compare alien with Italian,
Dandelion and battalion.
Sally with ally, yea, ye,
Eye, I, ay, aye, whey, and key.
Say aver, but ever, fever,
Neither, leisure, skein, deceiver.
Heron, granary, canary.
Crevice and device and aerie.
Face, but preface, not efface.
Phlegm, phlegmatic, ass, glass, bass.
Large, but target, gin, give, verging,
Ought, out, joust and scour, scourging.
Ear, but earn and wear and tear
Do not rhyme with here but ere.
Seven is right, but so is even,
Hyphen, roughen, nephew Stephen,
Monkey, donkey, Turk and jerk,
Ask, grasp, wasp, and cork and work.
Pronunciation (think of Psyche!)
Is a paling stout and spikey?
Won’t it make you lose your wits,
Writing groats and saying grits?
It’s a dark abyss or tunnel:
Strewn with stones, stowed, solace, gunwale,
Islington and Isle of Wight,
Housewife, verdict and indict.
Finally, which rhymes with enough,
Though, through, plough, or dough, or cough?
Hiccough has the sound of cup.
My advice is to give up!!!
You’ve been reading “The Chaos” by Gerard Nolst TrenitĂ©, written nearly 100 years ago in 1922, designed to demonstrate the irregularity of English spelling and pronunciation.
There’s also a video of the poem being read out should you want some help on couple of the more unusual words, above.

With many thanks to The Poke.
Thanks to Jared for sending me this.

Related:


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Paraprosdokians


Oxford English Dictionary May Be Too Big To Print


Heteronyms 

Anemoia:Nostalgia For A Time You’ve Never Known 

Oxford Dictionary's 'Word' Of The Year Is An Emoji

English And Mathematics Are Being Sorely Neglected

How English Gave Birth To Surprising New Languages

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How English Gave Birth To Surprising New Languages



 

   

October 02, 2016

How Groucho Marx Invented Modern Comedy



                                                                     


 
Born this day October 2nd - 1890.


The Marx Brothers were a family comedy act that was successful in vaudeville, on Broadway, and in motion pictures from 1905 to 1949. Five of the Marx Brothers' thirteen feature films were selected by the American Film Institute (AFI) as among the top 100 comedy films, with two of them (Duck Soup and A Night at the Opera) in the top twelve. The brothers were included in AFI's 100 Years...100 Stars list of the 25 greatest male stars of Classic Hollywood cinema, the only performers to be inducted collectively.

The group are almost universally known today by their stage names: Chico, Harpo, Groucho, Gummo, and Zeppo Marx. The core of the act was the three elder brothers: Chico, Harpo, and Groucho. Each developed a highly distinctive stage persona.


Harpo and Chico "more or less retired" after 1949, while Groucho went on to begin a second career in television. The two younger brothers Gummo and Zeppo did not develop their stage characters to the same extent.


                                                                  

 The two eventually left the act to pursue business careers at which they were successful, as well as a large theatrical agency for a time, through which they represented their brothers and others. Gummo was not in any of the movies; Zeppo appeared in the first five films in relatively straight (non-comedic) roles. 

The performing lives of the brothers was brought about by their mother Minnie Marx, who also acted as their manager.Source.





                                                                   

Today's comedians are very fortunate to have such an enormous amount of inspiration from which to draw.


For example, early in the 20th century there was Charles Chaplin, Buster Keaton, Laurel and Hardy,The Marx Brothers of course, Jack Benny, Milton Berle, Bob Hope and later Abbot and Costello.


Since then there have been many, more like Peter Cook and Dudley Moore, Rowan Atkinson aka Mr Bean and Blackadder, Michael Crawford aka Frank Spencer and The Phantom of the Opera, Mel Brookes, and some great comediennes like Phyllis Diller, Joan Rivers and Cloris Leachman as well as Jennifer Saunders and Joanna Lumley aka Patsy and Edina in AbFab.


Of course I haven't mentioned them all - I would need a whole book to do justice to all of them! 


There is one on American Comedy but all cultures have their versions. 


It would be hard to survive without humour!

Although they started as a singing quartet they evolved into a comedy act which was far more successful.In fact many of their early films were based on their comedy routines.


With the Marx Brothers it is a question of how many times you have seen a particular movie, not have you actually seen it yet!


It is wonderful to watch Harpo playing his harp and Chico playing the piano:





                                                                

                                                                 
                                                                                           



We are indeed fortunate to still be able to see them all in action and experience Groucho's incredible one-liners.



                                                                      


                                                                     



In 1929, the Marx Brothers hurtled onto the silver screen in The Cocoanuts and permanently changed popular culture.

For the first time, startled audiences in the US were presented with the spectacle of people conducting themselves in a social situation as if they were not in a social situation at all, but alone, in the privacy of their own homes.


Today, it’s fair to ask a question about how this shift has turned out. When comedy depends so much on the shattering of public taboos by the exposure of private behaviour, where does comedy go when all the taboos have been shattered?


The Marx Brothers’ explosion of private into public was a revelation. We rarely, if ever, say what we are really thinking when we are in public. If everyone did that, society would fall apart in a New York minute.


Imagine that you are an impecunious ne’er-do-well who is courting a wealthy woman. If she said to you, with wounded scepticism, “I don’t think you’d love me if I were poor,” you could well think to yourself, “I might, but I’d keep my mouth shut.” You could well think that. But no. You would never say it.


Yet that is exactly how Groucho, who finds himself in that very situation in The Cocoanuts, responds. At the same time, Harpo chases women around while honking his horn, a long stick with a rubber bulb at the bottom that he squeezes as he tears after them. And Chico mangles the English language in extravagant billows of mendacity to try to get what he wants.


These are not people who merely act on their impulses. These are people who lack a filter between their conscious and unconscious, and who refuse to stop being themselves no matter what social boundaries and prohibitions surround them.


By now the collapse of private into public is an old story. There are few, if any, human experiences that haven’t been represented in movies, on television, in popular fiction or in popular songs, or in a comic’s routines above all.


Louis C.K. has “joked” about hating children and gay people, having sexual intercourse with young girls and the atrocities of 9/11. In other words, he has obliterated the boundaries of vanity and pride that restrain most people from giving public utterance to their most private thoughts.


Amy Schumer occupies the same heedless, ego-imploding space: “What’s wrong with you that you want to be with me?” she asks her boyfriend in Trainwreck. Both comedians owe a debt to Groucho, who wrote in his legendary resignation letter: “I don’t want to belong to any club that would have me as a member.”


Never mind that, in actuality, Groucho resigned from the club not in a funk of self-hatred but because he felt superior to the other members. There is a reason that his offhand quip has lived into posterity. It presents the shocking spectacle of a person abolishing the healthy self-respect and self-interest that, in the aggregate, hold a society together.


The Marx Brothers excelled at destroying their integrity as people, and from that point on, comedy began to race past the simple act of making people laugh.


                                                                   
                                                             



Once supposedly funny movies depicted a bunch of actors burning books, as the Marxes do in Horse Feathers, humiliating and finally cuckolding a harmless lemonade vendor, as they do in Duck Soup, or impersonating a doctor and treating a kind, elderly and trusting dowager with a horse-pill, as Groucho does in A Day at the Races, a Pandora’s box of human darkness sprang open. Comedy got set on a path toward the destination it has reached today, where the simple act of saying the publicly unsayable has become more important than the well-constructed joke or the elaborate comic routine.

Perhaps this dizzying, unobstructed freedom is why so many comedians now strive harder and harder for outlaw status, as if defiantly insisting that they will never belong to any club that would have them as a member.


Having shamed and defeated all the prohibitions that used to justify comedy’s existence, comedians now seem to be yearning for good old-fashioned censure and repression, simply to feel alive as comedians.


Some of this comedy is liberating, skirting a type of seriousness, even tragedy, in its forays into the dark corners of psychology and society. Yet some people understandably long for the simpler art of making people laugh.


How would Groucho respond? Probably by suggesting, in his usual mode, that they should keep their mouths shut. Saying where you draw the line in comedy could well be the only forbidden thing left to say.


Lee Siegel is the author, most recently, of Groucho Marx: The Comedy of Existence, just published by Yale University Press.


With many thanks to The Australian




                                                                

Picture credit:AZQuotes
 

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