petri dish

hollow heads? science, fantasy, and what's as plain as the earth beneath our feet

Newton's Principia Mathematica is rarely remembered today for having sparked speculation that we all go about our days traveling across the shell of what is a hollowed out planet --  but the devoted Edmond Halley improvised just such a theory in 1691 from the Principia as he pondered the mysteries of why the earth's magnetic field changes and the nature of such phenomena as the northern auroras.

Normally, in our surveys of the scientific revolution, we speak of a grand astronomical sweep from Copernicus through Brahe, Kepler, Galileo, and Descartes that culminates in Newton's restoration of the broken Aristotelian/Ptolemaic cosmos by mathematically divining the universal laws of nature. Halley himself poetically proclaimed the same, and gets recognition for wrestling the Principia out from Newton's study and into publication before the world -- and is noted as well for his own heavenly insights into the nature of comets, recognizing their elliptical periodicity and precisely identifying the cyclical nature of the one that now bears his name. If you're here on earth in 2061 you can see it come round once again . . . about 1000 years after its 1066 appearance, which was recorded in the Bayeux Tapestry, an eleventh century blog. But I digress.

Hollow earth speculation doesn't typically come up when teaching the scientific revolution, even if Halley in his venerable old age points us in this sober portrait not to look above for evidence of his achievements but to look below our feet, perhaps believing at age 80 that it wouldn't hurt to remind attentive minds of some unfinished business that could be taken on. . . not that what he had in mind was students in a 21st-century class in science and popular culture as his epigoni. As I plan for next fall's scipop class (now in improved, hybrid form!), I've been thinking a lot about the ambiguity that attaches itself to nearly every historical and contemporary episode we've grappled with in that class. The official version of the history of science carries with it the aura of progress over time. Science in the vernacular fits awkwardly within that sober frame, and instead tends to be presumed to display degeneration over time: witness the hollow earth, from Halley's hallowed hands to Saturday morning kid's teevee.  

In becoming acquainted with Halley beyond his normal orbit -- in his speculation on the interior physics of our terrestrial planet, and its possible habitation by hollow earth beings -- we followed along with the scheherazadean legacy of hollow-earth thinking as related by David Standish in his book The Hollow Earth. In contrast to the stern geometric proofs of the Principia, Halley's inner-space speculation appears as an eccentric footnote, but whether that's due more to 20th-century perspectives that encountered hollow earthism-primarily in the light of pulp fiction -- making Halley seem a bit too much like an early Edgar Rice Burroughs -- than to his arguments themselves is a fair question. But perhaps Halley can be indulged his hollow earth eccentricities, given his seventeenth-century context and his intrepid pursuit of the realities of magnetism, which was such a mysterious entity. As one present-day commentator suggests: "Today, of course, one can rather easily see the flaws with a hollow Earth theory, but no one can rightfully blame someone living in the seventeenth century for believing such nonsense, especially if it explained certain mysteries." Thus, with just a bit of well-placed condescension what might look like Halleyan nonsense remains respectable -- if a bit on the free-wheeling side of respectable -- and therefore a forefather of the scientific revolution can maintain his rational bona fides. Even still, I'm not betting any serious money on it turning up much in historical surveys of the scientific revolution.

Tales of a hollow earth persist through the next centuries in varying proportions of fact to fictionality (and despite little scientific support). Halley's idea of a race of rational beings populating the hollow space of the interior planet resonated with widely-current ideas up through the nineteenth century about God's omnipotence, in which it was presumed that planets that circle a sun must support sentient life, as does our Earth: God does nothing without purpose, and it is clear, therefore, that God would have placed life on other planets so that they would be inhabited in the same way as is our own -- "the plurality of worlds" hypothesis. (This idea can be seen in works that tackle scientific subjects such as The Christian Philosopher of 1721 by American Cotton Mather, the influential Puritan divine -- and Fellow of the Royal Society.) Mather's popularization of ideas about scripture and science were read well into the next generations, and is a likely source for sparking John Cleves Symmes, Jr.'s fascination with hollow earth theory. Symmes, a former U.S. army officer and frontier trader, began turning out circulars on behalf of hollow earthism in 1818 (with one sent direct to U.S. Secretary of State John Quincy Adams), and spread the good news that the interior could be entered into via holes at the poles. He kept up a vigorous schedule of public talks across the young republic until his death in 1829. The mantle (so to speak ;-) for proselytizing the theory and drumming up support for polar exploration had fallen more and more to an acolyte of Symmes's, J.N. Reynolds, a gifted public lecturer, as was sketched in 1826 by a newspaperman in New York city:

A gentleman of this city, who, never having heard the theory of the concentric spheres properly explained, had always viewed it as the wild chimera of a half-disordered imagination, lately attended one of Reynolds' lectures. He went, as he himself confessed, in hopes of hearing something sufficiently absurd to give good exercise to his risibles; but soon felt more inclined to listen than to laugh, and by the time the discourse was finished, became a thorough believer in what he had lately derided. Such sudden conversions, perhaps, are not the most permanent; but they are sufficient to prove that the above theory is more worthy of investigation than ridicule. (Quoted in Aaron Sachs, The Humboldt Current: Nineteenth-Century Exploration and the Roots of American Environmentalism, p. 125).

Reynolds would come to downplay the hollow earth / polar connection while becoming fired with even greater zeal for exploring the Antarctic regions as ends unto themselves, and he was so successful in selling the possibilities, that he convinced the Congress to fund an exploratory expedition to the regions of the southern polar seas, which set sail in 1838. Sachs sees Reynolds as a powerful embodiment of American Humboldtianism, and argues that it was Reynolds, "perhaps more than any other writer in the first half of the nineteenth century, [who] taught America the cosmopolitan value of seeing the world" (p. 21). But Reynolds's ideas  would reverberate transatlantically as well, if somewhat circuitously -- picked up at home by Edgar Allen Poe in some of his tales, and then translations of Poe's fiction into French caught the eye of Jules Verne, who would write Journey to the Center of the Earth in 1864, adding a popular new conduit for hollow earth lore: with it as a foundation of the new (or, to us, classic) genre of science fiction.

Puritan approval, Congressionally-funded voyages, one of the first works of modern science fiction -- the culturally-woven threads of the webs that gird the hollow earth lie not neatly laid out like longitude and latitude, but look something rather disorienting instead, a crazy-quilt line of Brownian motion. Once you get into the middle of this all, how do you determine "what's the bottom line"? Standish, takes a cool-kid kind of stance, introducing his book by stating nonchalantly:

There have been many books recently about important ideas or commodities that have changed the world. This one, I am happy to say, traces the cultural history of an idea that was wrong and changed nothing -- but which has nevertheless had an ongoing appeal (in his Hollow Earth: The Long and Curious History of Imagining Strange Lands, Fantastical Creatures, Advanced Civilizations, and Marvelous Machines Below the Earth's Surface, p. 13).

The cultural history of scientific ideas that were wrong and changed nothing: in my darker moments, this characterization does seem indeed to capture the historical hamster-wheel that marks my scholarly preoccupations with science and popular culture. And yet. . .

The hollow-earth history actually led me back to a novel I'd forgotten about, which had first appeared anonymously, in installments, in the Cincinnati Commercial newspaper in 1880, and was published about a decade later in book form as Mizora (when the author was revealed to be Mary E. Bradley Lane, about whom little is known). In Mizora, Lane fashions an alternate female-only reality that exists inside the Earth (discovered by adventuring through the northern pole) in which science and technology have done away with the biological need for men for procreation, and which supports a utopian society. In some ways, the hollow earth setting can be seen as just another variation on the ancient dodge of fictional utopian islands, the point being the existence of some other unknown place beyond our sight where an author's idealized world can flourish. Worlds had been turned upside down before by social critics, and a world turned inside out was perhaps nothing much different. And yet. . .

I suspect that imaginings about alternative realities were quickened in the last centuries as the strangeness of the terraqueous globe on which we live began to be better-known and to come under livelier scrutiny. The fact that geology holds a less glamorous place in the hierarchy of the sciences in our own time obscures the fascination that pondering the mysteries of the planet which supports our own existence held in ages past. The vigorous trafficking in hollow-earth speculation in the 19th-century might well provide fertile ground for historians to capture glimpses of the ways in which new visions of an active terraqueous globe fascinated a wide range of people, who then turned their curiosity to imagining what sorts of changed environments would support changed forms of human beings, or of the ways in which ancient subterranean life and contemporary terran life might be connected. That is, hollow-earth tales and their ilk may well represent a kind of hidden history of science, where non-specialists play with a protean set of evolutionary-like ideas in public, impinging on the official story in unrecognized ways. Such stories little-resemble the kind of hoary historical set-pieces about evolutionary debate that populate casual remembrance, such as the anecdote about Thomas Huxley and Bishop Samuel Wilberforce monkeying around about who was on Darwin's team and why or why not. What did evolution from the people look like? Maybe some of the answers are right beneath our feet.

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For more: To delve back into the seventeenth-century debate on the plurality of worlds hypothesis, see Bernard de Fontenelle's charming introduction, Conversations on the Plurality of Worlds from 1686, or satisfy your curiosity about what's known scientifically today about the earth's magnetosphere. For a quick explanation of the plurality of worlds hypothesis, see an essay from the Norton Anthology of English Literature. For a short explication of Halley and the hollow earth, see Patricia Fara, "Edmond Halley's last portrait," Notes Rec. R. Soc., 2006, 60:199-201. Professor Duane Griffin in the Geography Dept. at Bucknell has plumbed the scientific aspects of the hollow earth tales: see his "What Curiosity in the Structure: The Hollow Earth in Science" and "Hollow and Habitable Within: Symmes's Theory of Earth's Internal Structure and Polar Geography." Victorian science fiction as forgotten by historians of science is deftly described by Paul Fayter in "Strange New Worlds of Space and Time: Late Victorian Science and Science Fiction," in Victorian Science in Context, ed. Bernard Lightman. And yes, the Nazis had their own hollow-earth fantasies; that's a bridge too far for this post.

Images: The Halley portrait is from http://www.biographie.net/Edmond-Halley; the Bayeaux tapestry snip is from the wikipedia article on Halley's comet http://en.wikipedia.org/wiki/File:Tapestry_of_bayeux10.jpg; the Burroughs Tarzan hollow earth cover was from David Standish's book for posting here: http://archive.coasttocoastam.com/gen/page1558.html?theme=light; the Christian Philosopher title page is from the Open Library http://openlibrary.org/books/OL13520105M/The_Christian_philosopher; the last one is by William Reed, a latter-day Symmesian from 1906, posted at John Lienhard's Engines of Ingenuity site at http://www.uh.edu/engines/epi2180.htm.

Note: Many of the links were updated and modified on September 4, 2018 | The entry was originally posted on June 12, 2011.

 

wondering about wonder

As a new mother, one of the things I found odd about baby books and such was an overwhelming emphasis on farm animals. Now, I’ve got nothing against farm animals, but it did strike me as interesting that our youngest humans are fed a steady diet of rural domesticated animal life as their introduction to nature.

Having grown up near the ocean, I began tracking down picture books that featured the sea, and not only was it a relief to venture beyond e-i-e-i-o with my pre-schooler but it was interesting that the ocean books themselves seemed to have a different, savvier edge to them rather than evoking the placid warm fuzziness of the pastoral nursery. For example, Eric Carle's Mister Seahorse comes with a story at odds with the relentless emphasis on mommies that you find in baby world (abetted by all those baby farm animals and stories about their mommies), featuring those species of sea creatures where it is the male who takes care of the eggs – a baroque group that ranges from Mr. Stickleback to Mr. Kurtus to Mr. Pipe to Mr. Bullhead . . . strange creatures doing the unexpected, naturally. In Stella, Star of the Sea by Marie-Louise Gay, an endlessly inventive older sister answers the million questions her little brother (reluctant to wade into the big loud ocean) puts to her, not with scientific accuracy, but certainly with exuberance, explaining how starfish are stars who fell in love with the sea, for example. And that reminded me of something else about children’s books about nature and children's interest in the why and wherefore of how the world works: for me, at least, it wasn’t the "fact" books that caught my attention, but books that captured great and intriguing questions, evoking a sense of wonder, remaining with me even today.

I’m not completely out to lunch on this – well, or at least I’m in the good company of noted physicist and author Chet Raymo, who made a similar point in his essay "Dr. Seuss and Dr. Einstein: Children’s Books and Scientific Imagination." Raymo notes that "we live in an age of information. We are inundated by it. Too much information can swamp the boat of wonder, especially for a child. Which is why it is important that information be conveyed to children in a way that enhances the wonder of the world. . . If a child is led to believe that science is a bunch of facts, then science will not inform the child’s life, nor will science enhance the child’s cultural and imaginative landscape." In my own childhood my curiosity about how the world works was powered by fantastic books like The Phantom Tollbooth (with its explanations of infinity and the daily recurrence of the dawn that I can picture even still) and the time-traveling mystery of A Wrinkle in Time and a lavishly illustrated Giant Golden Book of Elves and Fairies (by Jane Werner and illustrated by Garth Williams). It still has a pull for other sixties kids as well – if you can find a used copy from the 1950s/60s, it will run you upwards of $100, depending on the condition. Luckily, there are 21st century reprints!)

A children’s picture book can weave a creative pattern that pulls you into the heart of nature in ways that leave an imprint on your psyche that few classroom science books will later on. One of my secret impulses, when someone asks me for a suggestion for a biography of Charles Darwin that might be a good introductory text for them, is to suggest they try Peter Sis’ brilliant picture book, The Tree of Life: Charles Darwin, aimed at grade-schoolers. I rarely give in to the impulse, however, presuming they’ll think I’m nuts, and instead suggest one of the impressive recent biographies that properly-credentialed historians of science have recently published. But if what they are really wanting to do is to brush back the shadows of time to try and capture the tangled bank within which Darwin lived, then in my heart of hearts, I think that Sis might be the better starting point
(and bewitch them, even as he did me, despite my being a professional science historian). Sis captures so much of the fascination of Darwin’s life and times in pages that open up like intricate Chinese boxes, full of one surprise after another, with a collage of words and pictures that draw on maps, diagrams, portraits, Darwin’s writings and a myriad of other details big and small contributing to an artistic analysis of the naturalist’s intellectual and social ecology, of his private and public habitats, that is hard to forget. 

In 1956, Rachel Carson wrote an essay for Woman’s Home Companion, entitled "Help Your Child to Wonder" (an expanded version of the essay can be easily found in several adult-focused editions that were published after her death). It begins not with a pastoral scene, but of a description of two humans, one older and experienced, one still new to walking and talking, facing the ocean on a tempestuous night, where, "out there, just at the edge of where-we-couldn’t-see, big waves were thundering in, dimly seen white shapes that boomed and shouted and threw great handfuls of froth at us." You don't get much farther away from e-i-e-i-o than that.

I don't think it is necessarily true that somehow children are more attuned to wonder than adults, but I suspect that wonder is a powerful emotion that only manifests itself when the person doing the thinking and feeling is immersed in a world where space and time has an ample, expansive dimension to it. If that's true, then in a world of 24/7 in which multitasking is honed to a high art and where walking by oneself without being immersed in an electronic bell jar is becoming a thing of the past, wonder doesn’t stand a chance of putting in an appearance as a daily matter . . . unless maybe, sometimes, in the pages of a children's book, in the space and time that binds together the reader and the read-to.

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For more: Madeleine L'Engle's acceptance speech, "The Expanding Universe," for the Newbery Medal awarded in 1963 for A Wrinkle in Time; Eric Carle's bulletin board idea exchange for parents and teachers using his books; Charles Dickens's mordant take on the meeting of fact-based science and children's fancifulness, in Chapter 2 of Hard Times (1854); and historian Caroline Walker Bynum's presidential address -- entitled "Wonder" -- to the American Historical Association in 1996.

Images: Cover illustration of Eric Carle's Mister Seahorse (Philomel, 2004) and Madeleine L'Engle, A Wrinkle in Time (Delacorte Press, 1991) -- illustration by Peter Sis and a page from The Tree of Life at nyla's pinboard.

Note: Links updated on 8.19.2018 / Published on 2.6.2006

the space race and the dark side of the moon: saying good-bye to roger boisjoly

In class last week we were talking about what it means to live our lives in an age of science by looking at everyday ways in which assumptions about science and technology become part of the "common sense" background to "what everyone knows." It's this background against which new information and events are absorbed, deflected, or judged. We looked at the famous "Duck and Cover" educational video from 1951 (featuring an animated "Bert the turtle") that taught baby boomer kids what to do in case an atomic bomb exploded nearby, and viewed a recent smartphone ad that deftly illustrated a theory of technological determinism in 30 seconds. And we also looked at myths from the Challenger disaster that linger on 25 years later (related post here). 

All three of these artifacts are instances of manipulating the perceptions of those on the receiving end, but the sky-high costs of the conventional wisdom relating to the Challenger disaster is one that reverberates most portentously. This was brought home to me once again in the news that Roger Boisjoly, one of the Morton Thiokol engineers who had argued against launching Challenger, had died last January. I had met Mr. Boisjoly in July of 2000, when I brought him out to OU to speak to our NSF REU on Human-Technology Interaction, as part of the Ethics Workshops I designed for the engineering, computer science, and social science undergrads with whom we were working. Mr. Boisjoly's story was well-known to me as someone teaching topics in science and technology studies. But his work on the Shuttle as an engineer intersected with my regular-person life as well, and was also a factor in why the ethical aspects of the space program (engineering and otherwise) was something that I spent time exploring. 

Growing up in southern California in the 1960s, we kids came by a "not a big deal" attitude toward the space program because it was embedded in the regional culture. We were used to playing outside and watching vapor trails cut across the blue expanse above us, and hearing window-rattling sonic booms that suddenly split the air, as test pilots hurtled far above the ground somewhere off in the distance. NASA missions would splash down in the Pacific ("our" ocean), and when the space shuttle program was being tested and then deployed, landings often occurred at Edwards Air Force Base. Of course one could play at space at Disneyland, with Rocket to the Moon (although most of us kids loved Tomorrowland best for Autopia, where we could finally take the wheel and cruise the open road: independently conquering terrestrial space at high speed was what we really wanted to do).  And swooping and soaring and radiating "Googie" (space age) architecture was everywhere, in the coffee shops where we had breakfast on vacation, at the gas stations where our parents fueled up, and at the places where we went to for fun like bowling alleys and movie theaters. Theatrical architecture entertwined with the space program in a more somber form as well: within swimming distance off the shore at Long Beach were artificial islands (which were actually oil rig sites,  elaborately concealed behind structures that looked like hotels with waterfalls and palm trees and colored lighting at night), which commemorated the deaths of the Apollo 1 astronauts -- Gus Grissom, Edward Chaffee and Ed White -- who had been killed when a fire broke out in the command module during a launch pad test in 1967.

Most of us had relatives and/or neighbors who worked in the aerospace industry at places like Rockwell, JPL, and TRW (one-third of the nation's aerospace engineers worked in southern California by the 1980s, and the industry employed a total of a half-million people). In my family it was my grandfather on my mother's side, Robert B. Barnes, an antsy high school dropout from small-town Ohio who was gifted at working with machines (he was a race car driver in the 1920s). He ended up in LA, becoming an employee at Menasco in Burbank in 1940. That's a picture of him from Menasco's annual report in 1946, which featured his story of rising from a lathe operator (.95/hr pre-war) to a position as an "experimental machinist" (1.90/hr), and about how he had been rewarded by "a committee made up of his fellow workers and management representatives" for a "suggestion he submitted for improving the handling of one of the parts of a landing gear." It was Menasco, in fact, that would later be the company that designed the landing gear that made it possible for the Shuttle to touch down on the ground upon re-entry. A small part of my grandfather's mind and hands had gone into the eventual developments that allowed each Shuttle journey to regain physical contact with home.

 Aerospace engineering was not simply about rockets to the moon, of course; we knew as well that such efforts were directly entangled with the much larger defense industry -- after all, that was what had made southern California's economic sonic boom possible during World War II. Tied into the cold war arms race, the duck-and-cover drills we practiced in elementary school were also part of the space program: missile technology could deliver thermonuclear weapons to our doorstep as well as power spaceships to escape the earth's gravitational pull. If somehow this fact escaped notice, Harvard-trained mathematician and singer-songwriter Tom Lehrer broke it down for everyone on the 1965 song, "Wernher von Braun" from his album That Was the Year that Was: "'Once the rockets are up / Who care's where they come down? / That's not my department', says Wernher von Braun" (Lehrer was a staple on Dr. Demento's locally-produced KMET radio show, which began in 1971 and was a Sunday evening ritual). Selling the moon through feel-good media p.r. didn't obscure the fact that the ride to get there was propelled by "establishment" logic that also fueled an increasingly unpopular war in Indochina -- and anger at the establishment was increasingly on display at such historic events as the 1970 student riots in Isla Vista at UC Santa Barbara.

What was it like to be an engineer during such turbulent decades, when pressures converged from multiple sources, and with such high stakes in play? How had the engineering profession, the political, defense, and media establishments, and American society adapted in the aftermath?

Was Challenger tied to Apollo 1 and could it happen again? It was questions like these in addition to Challenger itself that we put to Mr. Boisjoly, who answered as many as we could manage to ask, with patience and candor and an intense desire to convey to the students how hard it is to maintain personal integrity within organizations in which accountability is diffused and complexity impairs clarity. In the end, just as it was necessary for such high-risk endeavors as the space program to engineer redundant safeguards into critical hardware and software components, so did we need redundant social practices that ensured that ethical decision-making would not encounter catastrophic failures. It was in working this through in conversation with Mr. Boisjoly that it became clearer to me that the Challenger failures were not due to proximate causes alone (what was or was not said or done in the night before the launch, or even in the years of working on the o-rings), but they had deeper roots that stretched back to the emergent years of the cold war itself. In the end, we were all implicated in Challenger's failed mission.

In overseeing his visit and meeting with Mr. Boisjoly in those few days he was here at OU, there was no escaping the overwhelming sadness that he carried with him. He spoke softly for such a large man, and carried himself in a way that displaced as little space as possible. It was hard not to feel that each time he went over his presentations about the Challenger events that he was re-living them, the pain and anguish and frustration and anger right there: about the horrifying outcome, about what he saw as the betrayal of his management colleagues to insist that the criteria be shifted to the contractors proving it was unsafe to fly rather than the onus being on management to prove that it was safe to fly, and about how he could no longer work as an engineer after he was seen as being a traitor to his colleagues for bringing files to light that had been kept from investigators (whistle-blowing). He said, however, that reaching out to the next generation was the best way of having the world make sense again.

Mr. Boisjoly was in occasional contact by email, and a few years later I was thinking of finding a way to bring him back to campus, but then the Columbia disaster occurred in 2003. I knew I could barely imagine what that must have been like for him; although he had been dubious about whether NASA had truly absorbed the lessons of Challenger, there was always the possibility that the costs that had been paid by all involved would result in such an event never happening again. And now that possible future was lost forever. I wanted to write to him, but I never found the right words, and was too worried about intruding and causing harm. Perhaps what I've written here is some small substitute for what I should have been able to manage then. I hope that now that Mr. Boisjoly has "slipped the surly bonds of earth" that he is at last at peace.

child-sized depictions of charles darwin to grow on

The overwhelming number of recently-published children's picture books about Charles Darwin -- across a diversity of publishers and authors -- choose to feature his voyage aboard the Beagle, leading to a remarkable sameness in approach, in thematic choices, and in the texts themselves (particularly as they liberally feature Darwin's own words, from his journals and his published account of the voyage), even if as a species they offer a pleasing morphology of illustrative styles. As I wrote previously, when going through the books as I was putting together "home school" lessons on evolution for my 7- going-on-8-year-old daughter, the repetitive focus on "Darwin before evolution" that occurs by devoting the bulk of each book to the voyage seemed to me to leave discussions of the hard work of arriving at explanations for the transformation of life over time as a let-down, for that history was rarely able to compete with the descriptive and visual thrills provided by sailing the globe and collecting curiosities -- which disappointed me.

In general, however, the advertising copy and reviews insisted that this approach was exactly what would engage a child in Darwin's story: an emphasis on his youth, the globe-trotting, the familiar tug of nature stories that feature animals, and the exoticism of wild nature in all its startling forms. I was reminded of the venerable heritage of this framework with this post [thanks to the tip from the all-seeing-eye of evolution-on-the-internet, Michael Barton], from the Biodiversity Heritage Library, who had as a book of the week the late-nineteenth century volume, What Mr. Darwin Saw in His Voyage Round the World in the Ship 'Beagle' -- a work more than 100 years previous which also claims that doing a mash-up of Darwin's book on the Beagle voyage (with a special focus on the animal tales and pictures) lent itself to a perfect child's-eye view of Darwin. (And, perhaps not surprisingly, when I talked in 2009 with Bernie Lightman [see here for recent articles] about his work on biographical treatments of Darwin when he was on campus for our Darwin Anniversary lectures, his view of such 19th-century works of juvenile literature were that they allowed for a conservative approach, focusing as they did on the voyage and the doing of natural history, rather than evolutionary themes. That this tack persists into the 21st century is fascinating.)

But the adventuresome seafaring young Darwin didn't seem to make much of an impact with my
particular child reader at home, who, I realized one day when I saw a new computer art picture appear on the computer desktop, had come up with an illustration of Darwin on her own that seemed to owe less to the conventional voyage thematic than it did to three different, more original takes that a handful of children's authors had created. The first of these, Anne Weaver's The Voyage of the Beetle, takes Darwin on the by-now-too-familiar voyage, but gives it a sharper edge by working evolutionary theory right into the narrative, through the plot device of a talkative and knowledgeable beetle who has befriended Darwin (he names her Rosie) and who serves as his coach in seeking to make sense of the extravagantly diverse natural world he is immersed in. Rosie is not only an observer of Darwin's voyage, but a participant in it, literally sprinkling his research records with "footnotes," dipping her appendages in his ink bottle at night to add in details:

that Charles, as observant as he was, might have missed. Often, I would include a little clue to the mystery of mysteries for Charles to decipher, slipping clues on little scraps of paper between the pages of the diary.

The story that follows comes from these footnotes, and from conversations that Charles and I had as he sought the answer to the mystery of mysteries. In each of the chapters that follow, I have copied my clues for you to read. I suspect that you might be able to solve the mystery even before Charles does.

Although Weaver's book is imbued with some of the same conventions as the other voyage books (Nature "speaks" evolution to Darwin, becoming increasingly revelatory as he moves further along each waystation in his scientific pilgrimage), the clues to evolutionary theory that accompany the voyage offer a refreshing change, because both the child reader and Darwin are literally placed at the same level of asking questions and not knowing what the answers are. (An echo of this partnership is seen perhaps in the title my daughter gave to her drawing: it's not "Mr. Darwin discovers," but "discover with Mr. Darwin.")

Intriguing as well is that through the character of Rosie, Weaver inserts a female voice into a tried-and-true narrative that is almost relentless in its masculine vibe as presented in the children's books, especially when the 19th-century sailing ship focus commandeers the bulk of the text. What's interesting in Weaver's Rosie is that it is a female voice that has the scientific knowledge well in hand, and is the voice of authority -- although tactfully rendered as a guide on the side, rather than a sage on the stage, for both Darwin and the book's readers. In this imaginative provision of a fictional feminine presence for Darwin's voyage, Weaver re-creates this historical moment in an alternate key, one that perhaps keeps the celebratorily masculinist emphasis of the books for youngsters at bay in a manner that also allows for a depiction of cognitive uncertainty that is more human than the other triumphalist tales. In fact, to the extent that the reader identifies with Rosie and incorporates her knowledge, on second reading the former "audience" for the book likewise takes on the vicarious role of Darwin's tutor (as perhaps both the friendly bluebird and the artist who drew her is ready to do once Mr. Darwin has introduced himself in my daughter's picture).

Given that science is so often presented to children as an opportunity to "catch up" with what adults already know, it's a rare feat that a science book for children allows them to see a "real scientist" as being similarly at sea at such length regarding explanations about nature as they themselves often are. And in fact, Weaver's narrative ends with Darwin back in England and still unsure about how to solve the evolution puzzle (although readers are not left hanging, as Weaver sets out Rosie's clues once more, and provides Darwin's solution to end the book). It's a story that gets at the idea of scientific knowledge as real work, but real work on the order of being doable given curiosity, patience, thoughtfulness, care, and insight -- the antithesis of the idea that only a remote few have what it takes to make scientific contributions (the "Einstein" syndrome).

I was most amused to find that, despite the fact that the voyage figured extravagantly both in content and in the illustrations of the pile of children's Darwin books that I had brought home to study, the picture my daughter chose to draw owed nothing to the rainforest theme which would supposedly transfix childish imaginations, but instead depicted a much more sedate locale, fitting comfortably within the domestic backyard setting of a local neighborhood in the northern hemisphere. And here the influence I think of the second unusual Darwin book, The Humblebee Hunter by Deborah Hopkinson kicks in, for in this author's story the science literally does take place at home, as Darwin's daughter Henrietta and other family members join her father to investigate how many times a bee will visit a flower in a minute.

Once again, this story has fictional elements (while Darwin investigated creatures in his home environment, and the children sometimes assisted, we have no record of the observational study Hopkinson sketches), and the fictionalization allows for a girl "naturalist" to take center stage. (This is Hopkinson's second Darwin book -- the first is a conventional biography from 2005 with the voyage at the center, Who Was Charles Darwin?) The cover of the Humblee Hunter has Etty enlarged in the foreground eye to eye with a bee -- an image that resonates with the composition of my child's drawing -- with Darwin off in the distance, a smaller background figure. Her favorite stories, Hopkinson recounts:

were about Father roaming the world to collect fossils, shells, sea creatures and plants. I imagined myself beside him, touching the back of a giant tortoise, watching iguanas dive, or laughing at a blue-footed booby dance!

Darwin was still a collector, his daughter notes, although "most of all he collected questions." The illustrations (by Jen Corace) show Etty immersed in following her bee as it voyages from flower to flower, answering a question of scientific importance for which the answer is not yet known. It seems that the generation of scientific knowledge can occur in one's own backyard, with little more than a pocket watch and sharp eyes -- even if the eyes are those of a child. 

In thinking about the ways in which my daughter's drawing seemed to be inspired by a particular set of authorial choices -- here, Weaver's and Hopkinson's -- I realized that casting an analytical eye on each story was about more than figuring out what happens to the historical Darwin or to the theory of evolution when it is scaled down for children's consumption. Especially in the ways in which fictionalized elements in these books transformed the stories so that they provided imaginative springboards for children to see themselves as participants in science for real, and not simply as "practicing" science, they were about something even more important than the scientific content itself: they were about what the scientific content represented in relation to the readers themselves. Somewhere around the ages of 7-10 American children begin to identify themselves as being "a science person" or "not a science person," when each one of them should be coming into their own through opportunities to experience themselves as competent interpreters of nature. The point of being exposed to investigating the natural world is not simply to start future scientists on their path, or to enlighten those who will not become scientists as to "what the scientific method is": it should be to nurture the multiplicity of ways in which each of us can feel at home as lifelong students of nature, most of all in "collecting questions."

Just last year, the competency of child students of nature became a news story, when a scientific paper on the "Blackawton Bees Project" was peer-reviewed and published in a major scientific journal -- the project being an experiment created by twenty-five grade-schoolers in Britain, in which they studied how spatial and color relationships influence foraging behavior in bees. The project and its publication garnered a great deal of commentary -- see, for example, the accounts by Ed Yong at Not Exactly Rocket Science and Alom Shaha in the Guardian, along with the comments for each post-- about the state of school science, the atypical advantages of having a scientist-parent of one of the students to guide the project, whether the bar was lowered for the students to publish (there were no references to other work) and more. 

Our images of both childhood and of science come heavily-freighted, and we need to understand better what happens when we bring these two culturally-laden categories into contact with each other, whether as abstract idealizations, commercial products, educational efforts, or social reflection. Historians of science typically have spent little time thinking about science and childhood, given the seemingly sensible conclusion that science is adult business, not least in its post-graduate guise in the modern era. But I can't help thinking that we may learn more than we can currently imagine about science and culture by collecting questions about the intersection of scientific dynamics and childhood realities, and how we make and remake our world through both.

a child's-eye view of charles darwin

Last year was the 150th anniversary celebration of the publication of Charles Darwin's Origin of Species (and the 200th anniversary of his birth), with lots of hoopla in the form of academic conferences, museum exhibits, magazine essays, and the like. A little-noticed side phenomenon in academia was a surge in the publication of children's books on Darwin, especially picture books for kids in the 6-12 age range. As an historian of science with a special interest in science and popular culture, including children's literature (and who had recently taught a class on science and biography in which I made sure to include children's science biographies) I was curious about what I'd find by taking a look through some of these recent books, especially as "Darwin" and "controversy" is such an unyielding theme in American popular culture.

But I was interested for a more personal reason as well: in 2008 I'd begun to pull together a "home school" program on evolution for my daughter (who was seven going on eight), because she wasn't satisfied that she understood how life changed over time just by knowing that there were different kinds of pre-historic fossils and that dinosaurs had disappeared at some point -- she wanted to know more about how it  actually worked. (We spend a lot of time in our house on "how things work," mostly when we come across various contemporary artifacts that have been taken apart in order for a certain someone to get a good "grasp" of the innards. It reminds me of what a young James Clerk Maxwell was supposed to have gone around demanding of elders who trafficked in vague and unsatisfactory explanations -- "yes, but what's the particular go of it?") The adventure of putting together what she calls "mommy science" goes into a future blog post, but in this one and the next I want to take up the question of the Darwin picture books as contributions to kids' informal science education.

The most striking dimension of the books is how so many of them are focused on Darwin's voyage as the core for the text and pictures. In some ways this must have been an overdetermined choice: a worldwide voyage has built-in appeal in terms of drama and plenty of room for the "exotic" to be on display as an attention-grabber; Darwin himself left behind an account of the voyage that has been popular since the 19th century, along with notebooks that allow the children's stories therefore to have the literal voice of the scientist inscribed within them for authenticity; and Darwin's role as naturalist on the voyage allows for a presentation that draws on familiar genres such as the nature documentary, animal tales, and picturing the globe as a patchwork of ecological habitats (not to mention resonances to more commercially-oriented fare such as Pirates of the Caribbean and the Rainforest Cafe). As an entry into the marketplace, using the voyage as the focal point for books on Darwin hits the educational/entertainment marketing sweet spot.

What I most appreciated about the voyage books in general were the opportunities for beautiful, sometimes inspired illustrations  -- the merging of science and art makes for a wonderful partnership in presenting both, and allows for each to become something more complex and enticing than each alone. Because I wish there was more attention to the visual imagination in introducing children to science, this aspect of the Darwin cache was a delight. Even a book that had a more cartoon-like/graphic novel tone that didn't generally appeal to me visually still had some striking images that did, such as a vividly blue iguana dominating the title page or an almost psychedelic drawing of "The Tree of Life" in all its wildly branching forms (What Darwin Saw: The Journey that Changed the World, by Rosalyn Schanzer as author and illustrator -- the link to the book includes both images on the website, just scroll down). In general, the books' illustrations tend to the slapstick-y more often than not (with varying levels of pulling it off), but the variety of visual approaches is a treat, from the "ye old wood-engraving" style of Alice McGinty's Darwin (illustrated by Mary Azarian in jewel-like hues) to the mid-tone pastels of the impressionistic What Mr. Darwin Saw (text and pix by Mick Manning and Brita Granstrom) to the mixed-media collages that pop off the page of One Beetle Too Many by Kathryn Lasky, with illustrations by Matthew Trueman. In fact, in my science and biography class, we had a lively discussion of what might happen if the visual freedoms of children's picture book biographies infiltrated the adult book market (for some sense of the possibilities, the stunning and thought-provoking examples of biographies as art in the graphic mode of  G.T Labs' "true science comics" are stand-outs, such as  Suspended in Language: Niels Bohr's Life, Discoveries and the Century He Shaped, and my favorite of the bunch, Fallout: J. Robert Oppenheimer, Leo Szilard, and the Political Science of the Atomic Bomb. And, yes, I've assigned both of these at one time or another as texts in my history of science survey courses.)

But the examples mentioned above don't exhaust the number of entries in the "voyage that changed the world" category. Others were even more elaborate, kitted up as "travel albums," really going to town with the 19th-century naval adventure "life at sea" theme, such as Charles Darwin and the Beagle Adventure by 
A.J. Wood and Clint Twist (with hefty boards and little pockets and envelopes inside with pull-out memoranda, photographs, and such) and Lifelines: Charles Darwin by Alan Gibbons and illustrated by Leo Brown, which uses the conceit of a ship's cabin boy observing the scientist and diarying his observations (the cover features a brilliant blue butterfly "specimen" under a half-globe of plastic surrounded by a compass rose to inaugurate the field collecting vibe.)  And there are still others as well -- and after working my way through maybe one voyage too many, I began to have my doubts about the approach. The multi-layered cleverness of using the voyage as the focus began to seem to have another contributory current as well: with "the voyage" as the overarching frame, the potentially discomfiting aspects of the historical narrative regarding evolution are displaced by the focus on  Darwin before he was an evolutionist -- with the evolutionary "aftermath" rendered literally as a textual aftermath.

Focusing on the voyage seemed to diminish an introduction to evolution in two key ways. First off, the evolutionary ideas that result from the voyage get nowhere near the same interesting treatment in the books as does the voyage itself, being relegated to the final pages (if covered much at all), and thus one curiously gets books on this score that allow you a kind of "safe" look at Darwin, because it is the joy of collecting oddities of nature and experiencing globe-trotting adventures (silly sailor pranks crossing the equator! earthquakes! volcanoes! huge fossil deposits! gauchos on the Pampas!) that are front and center, rather than the evolutionary theories that Darwin and others will develop. And here, the emphasis on the sesquicentennial of the Origin itself encourages a truncated view, as Darwin says next to nothing about human evolution in the Origin, and it is in his later works -- which appear amidst a community of inquiry on evolution -- that you see him take on more controversial ramifications of "Darwinism" (which, of course, in and of itself, does not exhaust approaches to evolution in his own time period). The voyage theme elicits a child-safe book that enfolds evolution into a comforting Victorian patina of wonder at wild nature, with the difficult bits shoe-horned in later.

Secondly, by emphasizing the voyage as an empirical scrapbook setpieces /powerpoint slide presentation as instantiating how Darwin became the "discoverer" of evolution, a somewhat reductionist argument is embedded in the text, but especially in the pictures: that Nature displayed itself to Darwin, he saw and recorded, and evolutionary theory was revealed. (This is especially underwritten by how the visit to the Galapagos becomes the culmination of Darwin's intellectual journey, a kind of quest in which he has been tested and in the process increasingly honed his mind and body into a receptive vessel in which to receive the truth that the hand of Nature -- as we "know" with hindsight -- lays out before him on his pilgrim's progress.)  Thus, evolutionary theory was there "in Nature" all the time, simply hidden from view by the tangled vines of the south American interior, and by the blindness of the scientific community prior to Darwin's voyage, and by the obscurantist haze cast by "Christians" ( . . . and how religion and science is understood in the books tends only to exacerbate misconceptions about their relationship in this time period).

It is true that the books usually note that many years of study and hard work followed Darwin's voyage, and they may even present little capsules about some of the other scientists from the time -- although Alfred Wallace, whose own voyage of discovery as the co-discoverer of evolution by natural selection could make up an interesting parallel in the books, usually only appears as a deus ex machina to get the Origin published, which is especially frustrating since "voyage" is the governing concept for the books and hence to bring in Wallace would seem to offer an intriguing point of comparison. But if you take the books on their own terms in regard to what the bulk of the pages feature and how they build to a crescendo -- and in what gets most intently presented in textual and visual form -- it is the voyage itself that matters most of all, not the later years. It is on his voyage that Darwin encountered nature's truth in its raw, self-evident essence, where the evolutionary facts are in plain view. They may need further consideration, but in the end, the scientific word is written on the rocks.

This isn't a perspective on the history of science with which I'm particularly comfortable, as it draws a veil over the hard work of how scientific knowledge emerges, is debated, and then rendered authoritative in a dynamic interplay along many dimensions. And it does, again, tend to make for a "safe" presentation of Darwin and science, rehabilitating him, perhaps, from invidious perspectives that have convinced many that the word "Darwin" is synonymous with hidden agendas that aim to hijack scientific thought for the purpose of destroying faith in God on dishonest pretenses. A depiction of a robust and engagingly curious young Charles who is almost a blank slate, aside from his fondness for beetles -- indeed, who is an orthodox believer at the start of the voyage -- as an alert conduit for Nature's empirical truth is hard to square with a vision of a sinister and conniving Darwin out to dupe the devout as the devil's chaplain. There's an undertone of scientific apotheosis that I'm not eager to pass along with lessons on evolution if that's what comes along with a child's-eye view of Charles Darwin.

My own reservations aside, I let my daughter rummage through the books and what she seemed to notice most was just the sheer bulk and repetitiveness of representations of Darwin and the voyage, Darwin being a relatively new name for her and his voyage as well: clearly here was something that mattered to adults, if it was repeated over and over for kids! One day, however, I came across an unfinished  image she created in her computer art program, titled "discover with Mr.Darwin." Interestingly, it was not the young Darwin, and it didn't come with a portrayal of ships and adventure, or the wild and exotic. Instead, a disembodied Darwin, his long white bearded face aloft in the sky just under a smiling sun (although with the beard blending into the grassy expanse below), is introducing himself by name to a rather large bluebird in a tree, eye-to-eye, in a perfectly ordinary neighborhood setting.

It seems as if it was another Darwin that she took to heart and made her own, from an alternate set of children's Darwin picture books than those above. These were books that took a different tack, one significant aspect being that they threw off the overwhelming "a boys' Darwin" tone that tended to be embedded within these voyage books, with their affection for nautical hi-jinks and male bonding and the idea of Charles as a salty adventurer. They brought, if you will, a differently gendered Darwin into view, one which was made possible by taking liberties with the historical conventions so dutifully enacted in most of the picture books. And they -- Peter Sis' The Tree of Life, Anne Weaver's The Voyage of the Beetle, and Deborah Hopkinson's The Humblebee Hunter -- deserve a blog post of their own.
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For more: For a short description of an undergrad book exhibit we put together at OU in the History of Science Collections, see The Children's Darwin. For reviews and notes on children's books about Darwin (especially around the recent anniversary-related publishing surge), see: School Library Journal Reviews; Bookslut; Children's Literature; the Dispersal of Darwin blog (the link matches up with a search for "children's books" on the site, so be sure to scroll all the way down to see everything), and the pdf list compiled at Charlie's Playhouse.

prototyping participation over presentation: "the children's darwin" & "undergrads at the collections"

As my academic department considers how to widen our outreach to undergrads with the proposed introduction in 2011 of a major in the history of science, technology, and medicine, I've been trying to work out ways to open up connections on our campus between the world we study and students from any background. I want to downplay bureaucratic brochureware in our online presence in favor of highlighting ways that anyone can enter the conversation about the constellation of ideas, issues, events, people, and consequences that make up hsci/med/tech -- entry points that could end up in direct connections with our department, but that could also foster other, user-directed connections just as easily. In thinking this through I'm working with a web 2.0 ethic in prototyping a set of loosely joined projects with digital components: think of it as roughing in the outlines of a dept. 2.0 identity, which opens up the possibility of changed relationships among those who make a learning community a learning community.

A web 2.0 attitude entails a shift from relying on default communication norms on our dept. website that focus on presentation (of "us" faculty and the dept. we have made -- "our" degrees, "our" research, "our" teaching, "our" priorities -- with pix of students sprinkled throughout, to be sure, to show we are student-friendly) to communication norms that facilitate participation: enabling our departmental digital presence to serve as a conduit for students themselves to experiment with defining what it means to engage in "exploring science : technology : medicine : past to present" in terms of their own experiences, their own connections, and their own pathways -- whether as majors, as minors, as individuals who might take a class or two with us, or just as someone who is curious enough about the area to find us on the internet. (Previous posts in this series can be found here and here.) This digital presence would also enable engagement by students with a wide array of others, both similar to and different than themselves, both on-campus and from beyond our hallowed prairie-ivy walls. How to start?

My primary effort has been aimed at creating an Undergraduate Portal for hsci/med/tech that will have its foothold on our department website, but will effectively be its own "start" page: a launch point for visitors to "do" things, rather than be told things. At the Undergrad Portal -- which will begin being phased in this fall, once our newly designed main website is functional -- the doing can run from obvious housekeeping matters such as finding out what next semester's classes will be or how you can declare a minor, to more expansive activities such as engaging in undergraduate humanities research (particularly by making use of digital resources -- in fact, the topic of digital hsci/med/tech research for undergrads will branch off into a companion website, hosted off the university server, because it is meant to be more than an institution-bound effort). A related, similar offshoot that I began piecing together first is "Undergrads at the Collections," which introduces possibilities for undergrad research using rotating themes, set up both as physical exhibits at OU's History of Science Collections at Bizzell Library and in a digital format via blog entries and supporting pages at the Undergrads at the Collections weblog site. The idea is that each version of the exhibit can stand alone, allowing for different forms of outreach, but that they can also be melded together, as discussed below. Our first exhibit is "The Children's Darwin," a display of children's picture books on the 19th-century naturalist, many of them published in 2009 with the peg of the celebrations marking the 150th anniversary of the publication of Origin of Species on which to hang their own appearance. The books are interesting artifacts for looking at how history of science is portrayed to a culture's youngest members.

The Curators of OU's History of Science Collections are genuinely welcoming of the public and all members of the university community, including students -- see their blog, for example -- but the Collections' space itself is nevertheless somewhat intimidating, what with visitors having to be buzzed in at the front doors, and with the books shelved away in stacks that need to be accessed by staff members, and with the items that are out front in the display cases being rare, fragile, and treated with reverence. On the other hand, the physical version of the Undergrad Exhibit, for which we've been allowed to homestead a small portion of the Collections' public reading room, is purposefully casual: the books aren't so valuable that they need to be housed behind glass, precisely so anyone can walk over, pick them up and literally hold them and browse through them, just as you would at your local library or bookstore. There is comfortable seating and tables that you can use to spend whatever time you'd like -- long or short -- with the books. There's an info sheet describing the exhibit, along with a discussion of how this kind of topic lends itself to research questions that connect up with real world issues, and suggests how the topic -- and offshoots from it -- offers useful starting points for user-generated content, if you will.

By adding a digital version of the exhibit, we can multiply its presence in several ways: by providing the ability for users to offer comments at the blog (our goal is to have an available laptop with the books so that visitors can add comments then and there via wifi) -- comments that live on the open web as contributions that make them more than a mere academic exercise (as with a typical class assignment one turns in to the instructor). Being on the open web, comments and queries from others anywhere at all with an interest in the topic or approach can also weigh in, adding to the interactive possibilities; and a digital version can also help to give members of the general public the same opportunity as the students to see what historical research can look like, demystified -- and comment themselves, if they'd like, and join the conversation, or use it to think with for their own purposes. Digitizing the exhibit also allows us to provide further links to research resources appropriate for undergrads or others interested in starting out on exploring the topic; and with digital versions, each successive exhibit can be layered on to the previous ones in an incremental fashion, creating a multi-dimensional archive that highlights the possibilities of humanities research by students, available to anyone brainstorming instructional projects.

This first display -- "The Children's Darwin" -- along with the next one or two Undergrad Exhibits, are occurring during what might be called the "silent phase" of our "academic department as web 2.0 campaign" -- rather like the early non-publicized period in a fundraising effort that quietly solicits donations so that the goals are already half-way met by the time that the endowment campaign is formally announced to the public. We hope to build up awareness bit by bit as we prototype, display, refine, and improvise on our way to providing working examples of how an interactive presence with undergrads and others can work -- so that when our department gets its window of greater visibility that will come with rolling out the major in a year or so we can already be experimenting in interactive terms, offering participatory possibilities in many forms, rethinking the variability and lability of what "open courseware" can be when the faculty, students, and members of the public create it together.

In dedicating a physical space specifically for undergrads at the Collections -- which is our department's "humanities laboratory" -- we want to literally demonstrate that, yes, you belong here; in choosing books that can be placed out for handling and interactive use, that are meant as starting points that can tell multiple stories simultaneously, depending on the individual pathways one chooses, we want to emphasize that humanities are for everybody; and by offering examples of research topics that demonstrate you don't have to be a faculty member to do history, we hope to make our discipline, and our research home itself, less intimidating to students, creating a space that facilitates the use of all kinds of media as social media. We often have our students visit the Collections and bring out treasures to show them, and some of us have even devised exercises that allow our students to use Collections' volumes as part of our class projects. But it is very rare that students come back on their own, or feel confident that they truly can be part of the research community, no matter how heartily we invite them to do so. Thinking in web 2.0 terms can change this, because our invitations will be more believable, visualizable, and doable, for students from any major. There's no reason not to think that in the near future we can have undergrads curating their own exhibits, sending their own queries and examples out onto the web, cultivating conversations among a diverse array of participants, and being members of a shape-shifting collective that helps us think of history as public history, belonging to all.

So that's some of the rationale as to the "why" of our Undergrad Exhibits prototype, "The Children's Darwin." There'll be a new exhibit for Fall 2010, so more on that to come; but how about the "what" of "The Children's Darwin" itself? You didn't think I could leave that topic before making an observation or two of my own, did you? That's coming!

a big hello to this year's scipop students!

welcome to the spring 2009 edition of hsci 1133, "science and popular culture"! I'm glad you're enrolled, excited about getting started, and looking forward to exploring aspects of the class further here on the blog as we move along through the semester. Although the things I write about on the blog aren't confined to our class alone, the class is the heartbeat behind its existence, and during spring semester a great deal of what appears here will relate to course content.

Sometimes I'll post about a topic or issue that will be coming up soon on the schedule, and providing a sneak preview -- as you'll see below about dinosaurs as scientific icons. Other times I'll supplement our course materials by seeing what I can turn up on the web, just meandering down different avenues that allow you to do some extra exploration if you'd like -- as when we were looking at the history of conceptualizing the moon two years ago. Other times I may reflect on questions you all have raised in class or in your assignments -- this space gives me a place to work on my thinking about these questions at greater length outside of class (see, professors assign themselves homework, too!) Here's an example from a previous year, when we watched a 1950s television program that addressed evolution and religion. And there will be entries related to topics where there is so much interesting extra information to be found online, that I'll use this as a place to bring some of that together as a point of departure for those who might find particular areas interesting beyond what we've had time for in class or in the reading (for example, anyone up for pondering the relationship of medieval bestiaries and phenomena such as the Loch Ness Monster in the present day? Then you're in luck!). Or sometimes, stuff that is just fun (like history of science and Halloween.)

This week coming up we'll begin discussing the kinds of symbolic images that appear within popular culture relating to science -- as a kind of quick example, I passed out brochures last class that advertised the "Walking with Dinosaurs" extravaganza that rolled into OKC this weekend at the Ford Center downtown (here's a newspaper review and here's the official site where you can get a sense of the show and here's a review by a scientist, Brian Switek, at his blog Laelaps). Dinosaurs certainly loom large as scientific icons in the public sphere, and the idea of thousands of people gathering together in a darkened sports arena to watch million dollar mechanical/puppet/thingamajigs conjure dinosaurs back to the living world is certainly an interesting example of the intersection of science/education/entertainment/spectacle/commerce.

Trying to understand the ecology of dinosaur images as a social phenomenon even as it is a scientific one is part of our task in analyzing popular culture. For example, if the popular success of paleontology as seen by the arena rock status of "Walking with Dinosaurs" -- or the auction of the T. rex skeleton, Sue, in 1997 for 8.36 million dollars, and the busy schedule the copies of her bones have had in traveling around the US and the world -- are indicative of something powerfully significant, it would follow logically that paleontology would be a richly-endowed area of scientific research, with untold numbers of paleontologists-to-be clamoring to take part, right, with huge paleontological institutes part of the university landscape? Ummmm, not exactly. Discuss.

We'll also work on analyzing images themselves, and trying to discern the patterns of meaning that connect dinosaurian imagery -- as one example -- with other aspects of what's going on in particular cultures at particular historical times and comparing them with the present. We'll look at how it was that a prehistoric creature that seems relatively banal to us today -- the mastodon (how many kids run screaming through natural history museums demanding to see the mastodon fossils?) -- was the first fossil exemplar of the idea of extinction, and on whom we projected our images of a vicious, dangerous past. The newly-founded United States was especially pleased to claim this ferocious carnivore (!) as our own mascot: "huge as the frowning precipice, cruel as the bloody panther, swift as the descending eagle, and terrible as the Angel of Night." Such attention to big, cruel, meat-eating tyrants is still common two hundred years later. Exhibit one: Oklahoma's own state fossil, the Saurophaganax maximus [note the maximus!], ushered into state law with the following words:

"Because of the extraordinarily rich paleontological heritage of the State of Oklahoma, the Legislature hereby declares Saurophaganax Maximus to be the State Fossil of Oklahoma. This spectacular dinosaur, the 'greatest king of reptile eaters', once roamed this great land. It is only known from Oklahoma and has surpassed the Tyrannosaurus rex, the 'king of the dinosaurs', as the greatest predator of earth’s history."

We don't want no puny critter representing us, ha! Surpassing T. rex! And if you want to check it out, look no further than the Sam Noble Oklahoma Museum of Natural History, where on the south campus you can see:

"The centerpiece exhibit in the Hall of Ancient Life, the Jones Family 'Clash of the Titans,' [which] shows an encounter between Oklahoma's largest Jurassic animals - the plant-eating sauropod Apatosaurus, which, at more than 93 feet long, is the largest of its kind in the world, and the carnivorous theropod Saurophaganax maximus, the largest of the Jurassic predators."

There's also a mammoth or two, and we'll take a look at how they're presented as well. Feel free to take a field trip of your own and get an early feel for what you think about all this!

If you'd like to explore dinosaurs as modern totems in greater detail, there's no better guide than W.J.T. Mitchell in The Last Dinosaur Book: The Life and Times of a Cultural Icon. Here's an interview with him about the book that will give you a sense of what kinds of questions scholars ask about popular phenomena like these and how they go about theorizing the answers. And there's a chapter excerpt as well: the counter-intuitive, "Why Children Hate Dinosaurs." Were you a dinosaur fan, foe, or indifferent to all the hoopla? Still feel the same today as an adult? Stay tuned, and we'll find out more from each of you.
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For more: How do you think the general public view science/paleontology in your country? At paleontologist David Hone's public forum website at DinoBase, he asked the question and you can read the answers given by various scientists. For a quick piece on Oklahoma's dinosaurs, here's a report from News9 by Christian Price, "Oklahoma's First Residents" -- and note that down on the right side of the page in the green sidebar there are some nice video links. And will the whole king of beasts tag become extinct?: see the BBC's report, "T. rex: Warrior or Wimp?" 

Image: Advertising from the producers, at http://www.zrock.com/zforum/about1044.html

flotsam and jetsam and historical memories

1953: Midnight Fireball Hits Bay -- UFO Near Miss???? No, the image isn't a real historic boardwalk handbill from Antiques Roadshow but one more bit of McMilleniana (as are the ones below and to the right) -- they're actually banners made in 2004 for the Santa Monica Pier in California for a public art project that took its inspiration from "the facts, folklore, myths, and legends of the Pier's early history," with the images "representing historical events that may -- or may not-- have actually occurred." McMillen's banners, along with those of artist Steve Galloway, were printed on vinyl and hung out on light poles on the boardwalk, flickering in and out of view of visitors as they strolled along the Pier entertaining themselves. (There are more than two dozen, and each one of them is really fun and clever... very much in keeping with a characterization that McMillen used in another context about an art project of his: "all part of an open-ended narrative, a carnival for the curious.")

My third take-away lesson from the world of art for myself as an historian of science (there is a first one -- "trying to make the (seemingly) ephemeral visible". . . and a second one -- "of crocodelephants and category confusions") as seen through the envisionings of Los Angeles artists Sam Rodia and Michael C. McMillen is related to the idea of artistic installations: art in the wild, out in the public square. McMillen's banners for the Pier are an exuberant wave of the hand, inviting those who encounter them to take them in -- maybe do a double-take -- and respond as might be, maybe with amusement or bemusement, or in sparking off a train-of-associations, or drifting in and out of a game of detecting how close to historical reality the "commemorative" homages are. 

The artist initiates a conversation, drawing on the representations and forms and idioms of everyday life, and provides an opportunity for engagement in a way that brings the specialist or expert (the artist) into an inviting -- if brief -- relationship with ordinary folk, casual passers-by. The Pier's visitors didn't have to possess the right connections to enter the home of a wealthy collector who owns an artpiece only seen by invitation, or even to venture into a museum gallery that is the art world's home turf: here, installation art, as public art in its most open form, takes up residence within a commonplace that offers the possibility for an interplay between "experts" and "laity" in a way that neither condescends nor intimidates. The third lesson, then, is of how venturing out beyond professional confines has so much potential: of teaching ourselves as we improvise new forms of communication, in ways that offer different kinds of connections and opportunities for imagination and reflection. And that's why I'm here on the web, diving into the area of science and popular culture, trying to figure out how to be a digital historian of science: putting out a few banners to fly in the public square. Its time to learn how to do history of science in the wild, not simply caretake it within the neatly trimmed hedges and rows of academic propriety.

McMillen's banners are also a wonderful nudge in and of themselves to speculate about the flotsam and jetsam of science and popular culture. UFOS streaking down into the sea, giant squid breaking the surface and upending an unwary boater, late-Victorian submarine steamers illuminating the murky depths: they're all wonderful evocations of the idea of mysteries that lurk so often at the heart of popular culture phenomena, with the ocean being a particularly apt emblematic prompt. In fact these three "historical" posters offer more than just apt symbolic representations of recurring popular symbols -- they intersect with real artifacts as well, in which connecting the dots begins to reveal possible patterns of culture. If not a real-world UFO sighting, well there was the 1953 movie, Phantom from Space ("Million Monkey Theater" provides a sharp narrative and commentary) in which an alien being crashes into the ocean off of Santa Monica. Jules Verne, in the 1870 novel 20,000 Leagues Under the Sea, gives us both a Victorian submersible and a giant squid, featured as well in the 1954 film by Disney. Off the coast of Santa Monica you can spy Catalina Island twenty-seven miles away, where (as the locals tell it) the glass-bottom boat was invented in the late-19th century to take advantage of the clear waters and abundant sealife as a novel tourist attraction-- not quite the gothic hulk of McMillen's imagining, but in 1906 you could experience a variant of the Vernian aquatic dreamscape by touring Catalina's "undersea gardens" via glass-bottom boat. Of course, Catalina being a tinsel-town playground, the tourist craft gets its own star treatment in the Doris Day movie from 1966, The Glass Bottom Boat (with Day as a NASA employee and occasional mermaid...there are interesting images of scientists to consider in this comic film). With just this brief tour, we've probably discovered at least a couple of relevant items worthy of study that are historical obscurities for most by now.

It's unlikely that a rampaging squid actually tormented a bay-dweller in 1949 as recorded on the second banner, but Hollywood, just down the road, produced The Lady Takes a Sailor that year with Jane Wyman (directed by Michael Curtiz) where an octopus apparently figures into the narrative, although it's an underwater vehicle that breaks the surface and upends her sailboat -- and, interestingly, just two years post-Roswell, the plot features a government cover-up of secret experiments (extending to messing with civilians' heads and reputations) involving a submarine tractor (bringing together, in a loose but ever more thickly woven web, echoes of ufology, troublesome cephalopods, and novel deepsea machines :-) Of course, nasty squids/octopi received iconic treatment at the movies during the cold war period in Disney's 20,000 Leagues and It Came from Beneath the Sea ("it" being a six-armed octopus that attacked San Francisco, courtesy of Ray Harryhausen) from 1955 and in the 1961 Voyage to the Bottom of the Sea, directed by Irwin Allen (I actually saw one of these as a kid -- I think the third one -- at Catalina's movie theater at the Avalon Casino, after having had my first tour in a glass-bottom boat. . . I can still see the vague form of a giant octopus in my mind's-eye today, it scared me that much!). Of course, giant squid are among the most durable popular culture themes and are still a big draw, being that they're so elusive -- they were only recently caught live on video in 2005.

A fascinating late-19th century California seaside connection is a science fiction short story that appeared in a periodical called The Californian in December of 1893. Entitled "A Submarine Christmas" [via Google Books], the fantastic tale by Thomas R. Caldwell shamelessly draws from Verne, but is a surprisingly fresh and up-to-date look for its time at marine zoology. The plot involves an inventor of a submarine research vessel who travels to Avalon Bay at Catalina Island to test it out, and of his intrepid friend from the East Coast who joins him for assorted undersea adventures, including a near-fatal encounter with a "giant cuttle-fish (Architeuthis), a monster at least seventy feet in length. . . Its arms were thrown about the boat: its uncanny black eyes glowing like huge plates in the glare of the search lights" (accompanied by an excellent illustration). Fortunately for the harried explorers, it was all a dream! But the 1906 piscatorial machine of the Santa Monica Pier banner would look remarkably apt as an illustration for the 1893 story; certainly Thomas R. Caldwell would have felt right at home! And, again, we've probably discovered at least a couple of relevant items here that are historical obscurities for most by now, simply by using the 2004 banner imaginings by McMillen as jumping-off points.

Making the (seemingly) ephemeral visible is part of what the art world can teach us humanists, and artists can also inspire ideas about how to visualize a carnival for the curious -- experimenting outside the petri dish -- needed, especially, when humanism becomes tinged with scientism. Not only that, but they can send us off into cultural scavenger hunts that turn flotsam and jetsam into useful things to think with and that point toward historical work that needs doing.

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Images: All from the image gallery at http://www01.smgov.net/smarts/gallery/paintings/PierBanners/index.html

science fairs and what you can find there

Okay, back again at last! I've been all tied up with administrative work, including a review of our undergraduate program with the generation of new proposals that took much much much much much much much much more time than I had figured for, so I've been lost to cyberspace for lo these many months. I really look forward to getting back on track (or if I can't find the old one, clearing a path through the electron dust bunnies that have piled up and seeing what turns up)!

As my class in Science and Popular Culture winds down this semester its that time of the year when students begin formulating their individual projects, giving 30 different perspectives on how to end the class as they have their own final say. In revisiting the work from 2007 (yes, it takes me that long to convert piles of stuff on my office floor to files that I can actually access, sad to say!), I came across one cluster of particularly thoughtful projects that honed in on the phenomenon of science fairs, with some participant-observer recollections and mini-surveys. I'll start with some of what they had to say about science fairs, but also feature two offshoots that really got me thinking: one having to do with engineering, and the other with natural history.

The "science fair" idea goes back to 1942 when Science Service (now called Society for Science and the Public) partnered with the Westinghouse corporation to create the Science Talent Search, which would spawn a program for coordinating high school science fairs into a network of regional and then national contests. I've become interested in thinking about these competitions as a part of science and popular culture for lots of reasons: Do they accentuate the idea that some kids are "science people" and some aren't? Projecting ahead from what a science fair entails, what conclusions would students draw about what science is like later on in college or as a profession? What's the effect of focusing on science as a "contest"? For a sense of some of the contemporary aspects of science fairing today, this 2003 article from the New York Times is helpful: "Those Simple Science Fairs Go the Way of the Dinosaurs." One unlucky kid with a modest experiment was dumbstruck to find that "kids had boards that were monsters, nine feet tall," and, the reporter recounts, "one judge laughed out loud at his display. 'And it was not a fun laugh. I wanted to take my board and beat him over the head.'" Yikes! Although one young man -- who came to be known as "Cockroach Boy" back at school -- triumphed with a project that did not entail lasers, DNA testing kits, or time on the Hubble Space Telescope, so it appears there is still a place for a kitchen table kind of project, if it's got a great angle (see it described at the end of the article).

Okay, back to my students and the traditional science fair. Students who had participated generally remembered the experience as a good one, as with one philosophy major stating how important it was to have "hands on learning experience, as opposed to reading out of textbooks," and he judged that his opportunity to compete in a science fair project proved to be "important in that it helped develop my reasoning skills with the application of the scientific method." Sounds like exactly the kind of outcome a science fair planner wants!

However, when the student running the survey asked her interviewees "whether or not science fairs did a good job of facilitating thoughts about science outside of the experience," the answers were much more varied. One middle-aged adult, the student interviewer noted, made a particularly "interesting point. She believes science fairs did a good job of facilitating thoughts about science throughout the progression of the projects and into the exhibition, but felt that without further reflection on the experience in the classroom, she lost much of what she had gained during the process." Another student suggested, however, that "I don't believe it is absolutely necessary for science fairs to bring about additional curiosity within students. As long as they are actively participating, they are gaining valuable knowledge." The student author also was surprised to find, within her admittedly small sample, that the male science fair participants went on to maintain a strong interest later in life in science, while her female participants had not. I love it when the students turn up data that surprises them! It gives me hope that they'll keep thinking about this stuff even after we've all said good-bye...

One issue the student reported back concerned the dynamics of whether or not the science is fair is held as part of the regular school curriculum or outside of it. As one high school principal who was interviewed stated about science fairs:

"Most of ours have been out of school and optional because of the amount of instruction time needed to prepare for projects. End of [term] instruction testing requires most teachers to use every minute of instruction time to prepare for the test. Unfortunately, when projects are prepared outside of school it's hard to determine how much parents have done instead of the students."

Another student recruited her colleagues in the local chapter of Alpha Sigma Kappa (Women in Technical Studies), where she found little enthusiasm for the traditional science fair, which appears to have not been optional. She reported that:

"the general consensus was that teachers mandating a submission from students, in addition to little guidance in terms of expectations, led to the fair being approached as an assignment. The easiest approach to this assignment would be to submit the simplest project, which required the least amount of effort, possible. Oftentimes, the 'individual investigation of something of interest,' which the fair tries to promote by not providing much guidance results in using experiments found in science fair books. . .These books defeat the 'inquiry process' by providing the problem and solution to the readers."

And she's not kidding! When I checked on amazon.com there were a slew of titles offering to show you the way: from Glen Vecchione's 100 Amazing First-Prize Science Fair Projects to Joe Rhatigan and Rain Newcomb's Prize-Winning Science Fair Projects for Curious Kids -- or, if you're not overly ambitious on the prize front, perhaps Science Fair Projects for Dummies by Maxine Levaren will do -- and then those who haven't proceeded in a properly organized manner (waiting for inspiration to strike?) can pay the surcharge for overnight shipping and the advice offered by Sudipta Bardhan-Collen's Last Minute Science Projects: When Your Bunsen's Not Burning but the Clock's Really Ticking. . . and there are more!

This student made a further insightful point: Looking back from her vantage point as a college senior, she argued that the science fair misses the mark in emulating scientific work in several ways:

"in comparing my personal experiences with conducting research in microbiology with my memories of science fairs, science fairs are not representative of 'real-life' scientific work. In presenting my senior thesis, I had to defend my decisions made while conducting my research and the interpretation of the results afterwards to established scientists in the field.To maintain objectivity in judging, contestants [in a science fair] are not confronted by the judges, and therefore, a winning project does not require the contestant to have a thorough understanding of the project. Additionally, 'real-life' science requires teamwork, and science fairs give an unreasonable impression of individual work."

The issue of judges looks like it varies depending on the school district and whether or not it is a formal competition, but the issue of teamwork is a striking one (being mentored by a professional -- allowed in most cases with science fairs -- is not the same thing as teamwork with colleagues). The answer to this artificiality: she suggested that a more compelling experience that turns the teamwork issue inside out was found when she joined the newly formed robotics club at her school, and they competed in three competitions: Botball, FIRST (For Inspiration and Recognition of Science and Technology) and BEST (Boosting Engineering, Science, and Technology). Botball is particularly of interest here locally since it is the brainchild of University of Oklahoma Engineering Professor David P. Miller, the Wilkinson Chair and Professor of Intelligent Systems and Chief Technical Officer of the KISS* Institute for  Practical Robotics [KISS being an acronym for "Keep it Simple, Stupid".] My student reporter writes that "the purpose of Botball is to be both inspirational and educational through building and programming autonomous LEGO robots. The entrance fee for teams includes a training workshop for teachers and robotic kits so that teachers can continue creating robotics projects year-round." The robotics competitions look like they have a whole different feel to them than do the science fairs, and yet they too are seeking to foster creativity and problem-solving. I'm very interested in learning more about this, as it appears that robotics competitions can reach a wider variety of students and sustain their interest and intellectual curiosity and confidence longer than the science fair, at least as traditionally conceived. I love it when my students turn up data that surprises me -- it gives me hope that I won't stop thinking about this stuff after we've all said goodbye!

But the biggest twist was one student's report about how her small Catholic school, through the inspiration of their junior high school science teacher, create anew each year a natural history landscape through their "Hall Project" that brings the idea of teamwork to a whole other level: her project paper was entitled "How to Inspire Nature Lovers, One Papier Mache Animal at a Time." This is how she described the habitats they created inside the ordinary four walls of their school:

"Once the hallways are completely decorated with cellophane rivers, plastic grass, papier mache rocks, and braided vines, they are now ready to be filled with their inhabitants that the students have spent weeks molding and painting. Fish are laid in the rivers, while the birds are hung with fishing line from the ceiling. Lastly the mammals and reptiles are strategically placed within the forests and meadows. It is now, as the last little lizard is placed on top of a nestled rock, that the hallways have been entirely transformed from manila brick walls into a maze of forests, oceans and plains that mimic the wondrous nature rare to the human eye."

She relates that she had been anxiously waiting for her chance to participate since third grade, being primed by observing the hours her brother had spent in the garage making two blue-footed boobies for his year, the first one which "stood with its head turned sharply right to look for predators while perched on a tree trunk, and the second flew, wings spread, over the nearby waters to catch fish." She was, she recalls "ecstatic" when her time finally arrived: "The Hall Project was something that every younger student adored...it is humorous to reminisce, seven years later, about how obsessed my classmates and I were with all aspects of it. The Hall Project seemed so enjoyable since it wasn't just another science class of sitting quietly and taking notes; it was creative and stimulated the adolescent, keen sense of curiosity which made us want to learn more." She contributed two Australian Sooty Owls, which hovered over a river where her friend's platypus swam. She astutely points out that the Hall Project "unconventionally revealed the importance of respect for the environment, in the sense that [we] built it, so it was [our] job to take care of it...[we] learned to respect the 'habitat' by protecting [our] animal creations from swinging backpacks or trampling feet between classes."

The Hall Project educated on multiple levels, as students crafted their animals and the habitats, wrote up note cards with interesting facts about an animal's life that they could convey during tours they conducted during the school's "tourist season" for the elementary school children and for their parents at open house weekend. My student notes that: "The Hall Project made it acceptable for its adult tourists to not have all the answers, as children and society expect of them; so parents were given the opportunity to continue their learning and experience something new, which is often forgotten about and trivialized in the world of raising a family and paying the bills."

She was very proud that her work had allowed her mother "to 'visit' the Galapagos Islands and Australia simply by wandering our halls. For her, as a working adult, this allowed her to imagine these distant lands. As she described her memory of the Galapagos Islands Hall Project: 'I did not know anything about that place, but it opened my eyes to a wonderful island that I never would have a chance to experience otherwise."

A decade later, this college student states, she still carries with her the message of this novel twist on the science fair:

"Nature should inspire awe in people, children and adults alike. If we could love and cherish our simple papier mache exhibits, those feelings should be exacerbated by the knowledge that each of those creatures actually exists. The Hall Project gave [our teacher] a creative way...to warn her students about dangers to the environment. Following in the belief that knowledge is power, the more children (and adults) know about the world and its wonders, they grow more interested. With interest comes love, with love comes respect, and with respect for nature people are more willing to save it ..."

In doing it themselves, I bet they experienced the natural world in a way that -- even with all their big budgets and spectacular camera work -- an Animal Planet or Discovery Channel documentary can't match.

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For more: Here's a blog entry on the 2006 student essays from my scipop class, "Student Anthropologists: Through the Looking Glass." For a bit on the history of science fairs, see this blog entry at Women in Science on a 1951 Popular Science article on some female science contest winners in the World War II era; here's a reproduction of the original article itself: "Wanted: Science Talent." Intel has a downloadable glossy brochure from 2001 on the Science Talent Search (which it took over from Westinghouse): Celebrating 60 Years of Science [it's a pdf file with a bit of a download time]. If you're interested in more descriptions and discussion see: "Six Decades of Science Contest Prowess" from the New York Times as well as "A Fine Hour for Squishy Sciences"; "'Go for it, kid': Looking Back on Five Decades of the Science Talent Search" from Science News; and "Is Science Talent Squandered? How Future Scientists Come Undone" from Science News Online.

Images: The first image is from the resource page on Science Fair Projects from the Athens Public Library System, at http://www.clarke.public.lib.ga.us/images/klscifair.jpg. The second one is of a 1950 finalist in the Westinghouse Science Talent Search, located at http://blog.modernmechanix.com/mags/qf/c/MechanixIllustrated/8-1950/lrg_tick_tack_toe.jpg. The third one is the cover image at amazon.com for the book 100 Amazing First-Prize Science Fair Projects, while the fourth and fifth are from the Botball site which has a gallery of their best photos. The last two are of a lesser sooty owl from Nov. 22, 2007 at the Politics and Environment blog and a papier mache dodo, which is the work of British sculptor David Farrer, who specializes in using recyclable materials to make papier mache trophy heads -- a very clever green project.

half a moon is better than none

As an historian of science, I've spent a lot of time observing the moon -- at least observing the historical traces of where the moon's path has intersected with the human quest to understand nature, the universe, and the meaning of (scientific) life. I've actually never seen the moon through a telescope, as so many scientific investigators have, down through the years since the time of Galileo (that's his work to the left: one of his drawings of his telescopic moon from the Sidereus Nuncius -- The Starry Messenger -- of 1610). Like a lot of moderns, I know the moon from the occasional naked eye glance up to the heavens when I'm out and about and the night is clear, or from the NASA photographs that became part of the collective consciousness for those of us growing up in the sixties.

I'd always liked the idea of star-gazing through a telescope, but growing up in a working-class family, the likelihood of owning a telescope was out of the realm of what was possible. When I became older and on my own, such a thing still seemed like an extravagance, and, really, weren't all those professional pictures in magazines and embedded within television science documentaries going to be vastly better than anything I could manage on my own with a telescope, rendering my own possible efforts redundant? Still, I always had a small, nagging feeling that I was missing out on something important that existed outside of a world of daily routines that kept my focus earth-bound, with little time to just sit back and scan the sky. (I'd heard that binoculars had come down in price and up in power in a way that allowed one to view the moon as Galileo had, but I never got around to investigating that in more detail -- if there had been the kind of web we have today to plug into in the 1970s or early eighties I would have found a lot of advice in seconds and it might have seemed do-able. Take a look here or here or here, for example. Or, if I had encountered the evangelism of sidewalk astronomy, who knows?)

So most of my moon-gazing these days takes place within the pages of books -- the History of Science Collections here at the University of Oklahoma has an astonishing collection of rare books, and I've had the opportunity to pore over the original copy of that Sidereus Nuncius pictured above more than a dozen times in the course of teaching students, and we'll be pulling some other Renaissance rarities this week in another visit for the science and popular culture class, to accompany our reading of Scott Montgomery's The Moon and the Western Imagination. If you want a sense of what we'll be up to, take a look at this wonderful online exhibition from the Linda Hall Library, The Face of the Moon: From Galileo to Apollo.

But before getting strapped into the way-back machine during our Collections visit, I thought I would take a tour around the web and see what might turn up, striking off on a trail that starts from Montgomery's book, but then which rapidly branched off to other strange and fascinating links:

• Montgomery makes the startling claim that the first naturalistic drawings of the moon don't come from the sketchpad of Leonardo da Vinci circa the very early 1500s, or the telescopic observations of Thomas Harriot or Galileo, but are displayed in the artist Jan van Eyck's oil paintings, such as his Crucifixion from the 1420s.
• A discussion of the phenomenon of "strange moonlight", via NASA, explaining, for example, why you can't read by moonlight.
• Moving from the visual to the literary, here's a collection of moon poetry.
• Where did that story about the moon and green cheese come from anyway? Try the Straight Dope.
• The "Earth and Moon Viewer" gives you an incredible number of ways to view the moon.
• And examples of "good moons rising" (and bad ones) from children's picture books -- see how the classic story, Good Night, Moon does a superlative job of portraying the moon through the window as you page through it. This is from a site with an inventive educational twist that is absorbing in itself: Paper Plate Education, whose motto is "Serving the universe on a paper plate." What a concept!

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For more: Here's a collection of paragraphs from an assignment I gave where each member of the class spent some time looking at the night sky and reported back what thoughts occurred to them: funny, lyrical, profound stuff. And here's a previous blog post that touches on the idea of the Apollo landing being a hoax and discusses the myths about the Challenger explosion.

Image: The Galileo drawing of the moon is courtesy of the History of Science Collections, University of Oklahoma Libraries; copyright the Board of Regents of the University of Oklahoma. The thumbnail is from http://hsci.cas.ou.edu/images/jpg-100dpi-5in/17thCentury/Galileo/1610/Galileo-1610-9v.jpg.