PopUp('ILLUMINBig

 

A Medieval Bestiary. Published by eBook Treasures. iPad. £4.99

Reviewed by Maggie Koerth-Baker

A Medieval Bestiary is just not that into me. 

We should have gone so well together. It was a scanned copy of The Royal Bestiary, a 13th century manuscript stored in the British Library, enhanced for the iPad with text and audio interpretation on every page. I was a giant nerd. Clearly, a match made in heaven. 

But I don't think it's going to work out. 

It's not that the book is terrible. In fact, parts of it are, objectively, pretty damn cool. We are, after all, talking about an opportunity to virtually thumb through the pages of a very old book. And the scans are excellent. You can see stains on the vellum, and the margin lines drawn by the scribe or illustrator to make certain that text and images were put into just the right place on every page. You can zoom in on the beautiful, colored and gilded drawings of bees and eagles, lions and centuars. On every page, there is, indeed, a little tab that you can tap to learn more about the animals you see in the pictures – especially helpful for the book's many imaginary animals, such as the leucrota. Leucrotas, you may be interested to know, happen when a male hyena mates with a female lion. The result of that partnership looks, for some reason, rather like a horse, but with a forked tail and a creepy, Jack Nicholson smile. The Medieval Bestiary assures me that the leucrota's "teeth" are actually a single piece of sharp bone, curved into a U shape. If I tap the "Listen" button, this information will be read to me by a soothing, female, British voice. 

In short, A Medieval Bestiary does everything it promised to do. In fact, I'm sure this book could make somebody very happy. (Maybe an art student?) Just not me. That's because, while it does do everything it promised, A Medieval Bestiary does only that. And not a bit more. I, unfortunately, need the bit more. 

The truth is that some of this is my fault. I read the description and then set my expectations rather higher than I should have. I can't really blame A Medieval Bestiary for being the book it is (and said it was) rather than the book I want to be. And yet. And yet. 

A book like this needs context. I need to know about the genre of bestiaries, in general. Did the authors make up the clearly made-up animals (and the clearly made-up information about real animals)? Or were they writing down longstanding traditions? What was the point of the book? Am I supposed to be studying the natural world, or exploring my own morality? Do books like bestiaries have a role in the development of true taxonomy and biology, the same way that alchemy had a role in the development of chemistry and physics? I have no idea. Because A Medieval Bestiary doesn't tell me. In fact, I had to run a couple Google searches to even figure out the book's real name. This is the full extent of context it offers on itself: 

A bestiary is a book of real and imaginary beasts, though its subjects can extend to plants and even rocks. It combines description of the physical nature and habits of animals with elaboration on the moral or spiritual significance of these characteristics.

This amazing book was produced in the first decade of the 13th century, and is one of the earliest bestiaries to feature vivid paintings of animals. They are set on gold grounds and in colourful frames, supplanting the line-drawn renderings that populated earlier bestiaries. These lavish illuminations would have made this a costly book to produce, and so it is likely that it was produced for an aristocratic, or even royal, owner who could read Latin or had a chaplain who could do so.

Even more frustrating was the interpretation within the book. A Medieval Bestiary is in Latin (and written in that sort of fancy medieval font that makes it difficult to read even if you do know Latin). But there is no translation of the actual text. The interpretation merely describes the illustrations. In some cases (but not all) that includes a summary of the text around the image, but even then that's almost worse, because what you get are stunted plot points of a story that probably would have been a lot more interesting to read for itself.

Basically, I look at A Medieval Bestiary and think of all that it could be, but isn't. Particularly with the iPad book format, there's such an opportunity here to add lots of context: History, philosphy, quotes and links to other works. Done right, a reader could come away from this understanding more about medieval society as a whole and the development of science from magical/religious art to rational tool. Instead, A Medieval Bestiary just wants to tell you what's going on in the pictures. There's nothing wrong with that. But I'm too old and too wise to waste much time thinking I can change a book into something it's not. 

Besides, in the course of breaking up with it, I discovered that A Medieval Bestiary had been kind of misleading me all along. I paid the equivalent of $8 for this book (I was offered a free review code, but couldn't figure out where to apply it during the ordering process). But, turns out, this isn't exactly unique content. In fact, the whole thing is available as free PDFs on the website of the Royal Library. Some of the scanned pages there even come with the exact same interpretation as is offered in the iPad version. Which just kind of serves to make the shortcomings of the iPad book that much more apparent. I don't mind paying $8 for something really cool. I mind paying $8 for an iPad version of something I can get for free as a PDF. If the publishers – eBook Treasures – were going to convert A Medieval Bestiary to iPad, why not take advantage of that and do some stuff that you couldn't do with PDFs? 

Sadly, I think it's time this book and I went our separate ways. Hopefully, we can still be friends. And, who knows, maybe in the future, when A Medieval Bestiary has had some time to grow, we can rekindle the relationship. 

 

The British Library: Books of Beasts in the British Library: the Medieval Bestiary and its context (the book published on iPad as A Medieval Bestiary is listed here as Royal 12 C. xix)

Explore and learn more about medieval bestiaries as a genre at The Medieval Bestiary website (not affiliated with eBook Treasures or the iPad version of The Royal Bestiary)

Image: An illustration from the The Royal Bestiary, depicting a unicorn laying its head on the lap of a lady. Presumably, the illustrator had never seen a unicorn, nor (one suspects) a lady.

 

3colorlittle


Maggie Koerth-Baker is the science editor at BoingBoing.net, the science columnist at The New York Times Magazine, and the author of  Before the Lights Go Out.

 

FrankensteinFrankenstein: The Afterlife of Shelley's Circle. The New York Public Library. Web siteiPad app. Free.

Reviewed by Carl Zimmer

"Reviewed" is too generous a term for this post. If I set out to write a proper review this colossal labyrinth of an ebook, you would have to wait for weeks, perhaps months, for my verdict. But since this particular work is free, I think the most that's necessary is to point you in its direction and wish you well. I downloaded Frankenstein this morning, and I've been enjoying perusing it greatly. While it's not a perfect ebook, I expect I'll be delving back into it for a long while.

Frankenstein comes to us from the New York Public Library. If you've ever been there, you've probably seen one of their impressive exhibits. As one of the greatest libraries in the world, the New York Public Library is also a great literary museum. To put on an exhibit, they will typically select some of the finest treasures from their collections, such as rare books, letters, maps, and prints. Frankenstein is like an exploded version of one of their exhibits. It's drawn from the Carl H. Pforzheimer Collection of Shelley and His Circle. As I wandered through the app, I sometimes wonder if there was anything in the collection that they didn't include in it.

At the core of this ebook is Mary Shelley's classic meditation on science and humanity's urge towards creation. Here you can listen to a dramatic reading from one chapter. The ebook contains accounts of the making of novel, as well as its reception. Essayists contemplate the powerful hold the story has had on us ever since, and how we've adapted its themes to science's progress, from the advent of nuclear weapons to our age of stem cell manipulations and genetic engineering. The whole project is lavishly illustrated with paintings and photographs.

This morning on the ArtsBeat blog at the New York Times, Jennifer Schuessler wrote that "the app spins out widely and wildly." I have to agree with her. I found myself paging through stills from a disastrous 1981 Broadway production of Frankenstein that closed after one night, and asked myself, "Why am I looking at this?" I can't say that the experience gave me any insight into the book's place in our culture. The essays on Shelley's circle of friends veer off far from her novel. The app includes not one but two graphic novels. Frankenstein is also loaded with interactive features, which are nicely integrated technologicaly, but not thematically. While reading the piece on the making of the novel, you are invited to pop out a poll: "Do you get the most inspiration from creating on your own?" Why, yes I do! The app then informed me that 84% of the 13 people who voted agree with me. How 'bout them apples?

The ebook also has some technical flaws. I'm still clinging to my iPad 1, and I find that Frankenstein slows down its performance like no other ebook I've used. On more than one occasion, it even crashed. Which is odd, given that Frankenstein deals mainly in texts and pictures, which should make pretty modest demands on a tablet device. On top of the app's slow performance, it displays its essays in small windows that you have to scroll through, which took me back to the early days of the web. Sometimes when you follow a link, the app dumps you into the web-site version, as if you've fallen into a parallel universe. 

If you find yourself annoyed by anything in Frankenstein, bear two things in mind. 1. It's free. 2. One touch of the screen will quickly take you to a different part of the app. Any time I've gotten bored by something in Frankenstein, I've found myself intrigued seconds later by one of the hundreds of elements of this app.

Perhaps that's the true sign of the greatness of Shelley's novel. The book was a Big Bang, and the universe it created is still expanding.

 

Zimmer author photo squareCarl Zimmer writes frequently about science for the New York Times and is the author of 13 books, including A Planet of Viruses

The Chemical History of a Candle, by Michael Faraday, (Griffin, Bohn And Co., London, 1861), available free from Project Gutenberg in multiple e-reader formats and also from LibriVox as a free audiobook.

reviewed by Deborah Blum

 "There is no better, there is no more open door by which you can enter into the study of natural philosophy than by considering the physical phenomena of a candle."

 

376px-Faraday_title_pageIt was the above line that first caught my attention. The recognition that we often best appreciate our extraordinary natural world by seeing it through the lens of the ordinary: crystalline structure as revealed by the stitchery of winter frost, the chemical dance of light and life found in the changing colors of leaves, the hot whisper of oxygen as it sends the flame higher.

That recognition has driven much of my own science writing – the idea that we can often illuminate science through tales of the everyday.  I wish I could tell you that I'd thought of it first, that it was somehow primordially my own.  But, at best, I think I can claim to be carrying on a time-honored tradition. Because it's very clear that the 19th century scientist Michael Faraday was doing that and doing it exceptionally well some 150 years ago.

Here at Download the Universe, we reviewers are mostly looking toward the future – what we hope is the promise of e-books, their potential to transform the reading experience. Possibly transcend it. But I want to take this opportunity to explore another aspect of the electronic publishing world, the ability to explore our past, the free archives offered by publishers like Project Gutenberg

Founded in 1971 by the late Michael Hart, Project Gutenberg began as a labor of love, the painstaking transfer of books in the public domain – many of them once forgotten– into digital life. The Gutenberg website now makes 39,000 free e-books available. It also links with digital partners to provide access to another 60,000 e-manuscripts. Like Faraday's candle–to stretch that analogy a little here -  it offers an open door, a brightly lit access to the words, and even the wisdom, of our past.  Like no other generation, we can explore this virtual library,  stumble across old chemical histories of candles and learn to think differently about our own work.

And stumble is exactly what I did.

I see you are not tired of the candle yet, or I am sure you would not be interested in the subject in the way you are.

Not that it was much of a fall.  More of a sidestep. I spend a lot of my time writing about and researching the history of science, for books like The Poisoner's Handbook, my recent story of poison, murder and the invention of forensics in the early 20th century. I do so because I believe–no, really, I know–that we cannot understand who we are unless we understand how we got here. And so I was doing some research into the history of chemistry and Faraday's book almost immediately appeared in my browser.

This, I think, is the other magic wrought by on-line publishers like Project Gutenberg. You can be happily rambling through the history of chemistry (a phrase, I know, that only a geek could write) and suddenly discover that a scientist born in the close of the 18th century (1790) understood perfectly the very principles of science communication that you'd been preaching in the 21st century.

Continue reading “Science by Candlelight”

FarthestNorth_BylinerFarthest North: America's First Arctic Hero and His Horrible, Wonderful Voyage to the Frozen Top of the WorldByliner Orignals. $1.99  Publisher site.

Reviewed by David Dobbs


When people today imagine scientists, they tend to picture a man in a white lab coat, glasses, and a scraggly beard. A century and a half ago, however, people imagining a scientist were more likely to conjure a man with a heavy fur coat, a telescope, and a beard twisted not by eccentricity but by the gales of distant places. It was the great age of exploration, when many scientists did their work afoot or at sea. The scientist was a person not just of thought but of action.

In America, no one typified this scientist-explorer image more thoroughly than Elisha Kane, an unlikely explorer who trained formally in neither science nor seamanship; who led one of the era's most extraordinary and influential polar journeys; who was ill much of his life but found extraordinary strength during his severest trials; and who convinced himself and others, for a time, that he had made one of the most important discoveries of his era, only to be largely forgotten. He vividly occupies Todd Balf's Farthest North: America's First Arctic Hero and His Horrible, Wonderful Voyage to the Frozen Top of the World.

This is great material, and Balf, a former editor at Outside, handles it deftly. He gets the scientific dilemmas spot-on while telling a gripping, overlooked tale. He also paints a wonderful picture of how a person's qualities, applied with energy and savvy, can find the doors of opportunity in an era and knock them open.

For the restless Kane, the exploration of the Arctic proved an irresistible draw. The voyage examined here was his second, but the first under his command. The prior journey, which he took as a naval officer, went so badly from an exploratory point of view that its leader happily left the traditional captain's author's account to Kane. Kane, with a romantic's heart and a novelist's touch for earthy detail, seduced  the American public  with an Arctic world they paid  little heed to before; his treatment was half Twain, half Whitman, says Balf. Their mission had been to find and rescue the lost British explorer John Franklin, who had disappeared years before while seeking the Northwest passage. Kane's poignant description of the traces they found of Franklin's path — an abandoned camp with three sailors' graves, an armorer's forge, and a pair of officer's gloves washed and set out to dry — flamed enough interest in Franklin's fate to generate funding for a second rescue attempt, this one led by Kane. 

So in May 1853 he set sail. He would search not just for Franklin, but for the "Open Polar Sea" — a coveted passage to the North, and ultimately the Pacific. Kane suspected Franklin may have found this sea but not lived to report or take credit for it. A British adventurer named Inglefield, thinking likewise, set sail from England at about the same time thatKane did, and on the same mission. Kane's trip was at once an attempt at rescue, a test of a hypothesis, a bid for fame, and a race.

As a scientific venture, his search for an Open Polar Sea posed all the seductions and dangers of any powerful idea. It tempted not only extremes of action but the perceptual warping we're all subject to — the tendency to see what one wants to see. The expedition's naturalist-surgeon, Isaac Hayes, encountering in the hills around Baffin Bay a "lush summer bloom," thought it presaged mild weather and open water ahead. Likewise, as they worked their way up through Baffin's ice flows that July of 1853, both Hayes and Kane found hope in seeing many animals moving northward, as if warmth lay there.

They soon found otherwise. Above Baffin they met cold gales that sent the ship careening among ice floes. The sea glazed over. Two weeks later, the ice seized them. They were further north than anyone had ever wintered and survived — 78 degrees, 44 minutes. And though it was only September, it soon became apparent that winter was coming early and hard. Over the next 18 months, locked in ice the whole time, the men suffered a near-continous stretch of arctic torments: weeks on end of darkness and subzero temperatures; scurvy that turned old wounds into open sores; frostbite that forced amputations. Kane's journal through those winters, writes Balf, "is a record of unbroken misery." 

Kane's great feat is that he got 14 of his 17 men through an ordeal that should have killed them all. Through the second winter, Kane, who actually felt stronger then than in the winter before, relentlessly nursed and cajoled and supported his men, even as he himself sometimes bordered on delirium. It was a spectacular triumph of deadening, dumb, determined endurance. Finally, in the spring of 1855, they abandoned the ship. After weeks of dragging two lifeboats southward over300 miles of brutal terrain to reach open water, they sailed 1200 miles to Greenland and safety. 

That October, Kane returned to the United States to a hero's welcome, his book-won fame spread explosively by news of his survival. But his health deteriorated. When he died in 1857 in Cuba, where he'd gone hoping to recuperate, it made all the front pages. His funeral procession from New Orleans back home to Philadelphia was watched by thousands — the biggest public mourning the young country had yet seen. It wouldn't be topped until Lincoln was shot. His status is suggested by a banner overhanging Fifth Avenue: "Science Weeps, Humanity Weeps, the World Weeps."

Now few know of Kane. He's rarely mentioned in short lists of great Arctic explorers. Balf's tale serves both as an historical corrective and a sort of fable of the fickleness of fame and the cruel risk of reaching for but failing to bring home a big idea. "Like the earliest, most ambitious pioneers to any new land, he got some things wrong," writes Balf. "He also got a lot right." He found new ways to survive cold and hunger. He returned "by a smart retreat and an unprecedented alliance with the native Inuit; he worked tirelessly to nurse his party back to strength." 

This contrasts, Balf notes, with Franklin, who died early on and left his men to march to their deaths. Kane's program for surviving an Arctic winter "was brilliant … and duplicated by almost all future Arctic expeditions," including Shackleton's more famous escape. A notable exception is Scott's disastrous but romantic failure at the South Pole, which arose partly because he ignored some of Kane's lessons and innovations. Yet both Franklin and Scott remain far better known, probably because they did not return. And Shackleton's name far outshines Kane's, even though Kane accomplished something every bit as difficult and unlikely. They both did the impossible. Shackleton's impossible was just more obvious. 

It didn't help that someone else largely solved the mystery of Franklin's party. Kane also had the back luck to get the science wrong.

In that spring of 1855 in which he finally took his men south and home, he first sent two of the strongest men north to take one more shot at finding the Open Polar Sea. They marched 200 punishing miles, all the way to 81N, 22', "shedding everything" to get that far. There they encountered a 500-foot bluff. Only one of the men, steward William Morton, had the strength to climb it. When he reached the top, he saw before him an "unfrozen sea" with "waves, … surging from the furthest north, breaking at my feet." A northerly gale blew in his face — but carried no ice toward him. The open water stretched north to the horizon.

From this tantalizing data point — a big, fat, seemingly infinite n of 1 — Kane drew an understandable conclusion: He had found the Open Polar Sea. Balf properly forgives Kane this error. And when he reveals the freakishly unique alignment of forces and events from which this false finding rose — an assembly that starts with Franklin and ends with an astonishing satellite photo taken in 2010 — it's hard not to join him. For the full, strange, richly told story, steer your browser to Farthest North.

 

DDinwoods100x100David Dobbs, the author of The Atavist e-book bestseller My Mother's Lover, writes on science, culture, and sports for publications including The Atlantic, The New York Times Magzine, National Geographic, and Slate. He blogs at WIRED  and is now writing his fourth book, The Orchid and the Dandelion

 

 

IconLeonardo da Vinci: Anatomy Touch Press Ipad. $13.99 Publisher site

Reviewed by Carl Zimmer

There's no point in beating around the bush. Leonardo da Vinci: Anatomy is simply the best ebook about science that I have ever encountered. To me, it is the exemplar of what ebooks can be.

Leonardo da Vinci: Anatomy comes from Touch Press, whose lavish apps we've reviewed before at Download the Universe (Gems, The Solar System, The Elements). I've personally toyed around with all three of those apps, and while they each offered a number of pleasures, each one felt limited in one way or the other. Gems, for example, lets you twirl diamonds and rubies, but, as Virginia Hughes noted in her review, it doesn't tell you much about them or about their place in human history. The Solar System, reviewed by Jennifer Ouellette, has some very impressive features for navigating among the planets, but Jennifer noted that it lacks a clear story.

Given this track record, I launched Leonardo da Vinci: Anatomy expecting a good-looking but flawed production. No shortcomings came to light, so I tried looking for them. I looked hard. And I couldn't find any. Leonardo da Vinci: Anatomy has everything I could ask for in an ebook about one of the greatest stories in the history of science: a pioneering work on anatomy that was lost for over four hundred years.

Living during the Renaissance, Leonardo's initial understanding of the human body came from ancient scholars like Galen and Aristotle. He was taught that animal spirits traveled through giant holes in the head and then flowed into the nerves. He was taught that blood was produced in the liver and then flowed outward to the ends of the body. One reason that these obviously wrong ideas persisted for over a thousand years was that medieval scholars did not conduct their own autopsies or experiments. Galen and and company had figured out everything there was to know about anatomy, so the best thing they could do was read, not conduct research.

With the Renaissance, that obedience began to crumble. Leonardo was the quintessential do-it-yourself-er. He conceived of new kinds vehicles and weapons; he investigated optics and geology. Wikipedia has set aside a separate page for a startling long list of his accomplishments.

Leonardo also became obsessed with human anatomy, and did not hestitate to make up his own mind about it. He dissected human cadavers. To figure out how the heart worked, he created a glass model of it. To probe the brain, he injected hot wax into the head of a freshly slaughtered ox.

As I wrote in my book Soul Made Flesh, Leonardo had a hard time breaking free from the old notions of how the body worked. When he discovered that the head did not contain three linked chambers, he couldn't break free from the old theory of animal spirits. He could not accept that perhaps the brain itself was responsible for thought. Likewise, although Leonardo discovered a valve in the aorta, he did recognize that blood circulates around the body, pumped by the heart. Nevertheless, his drawings were the greatest anatomical works that existed in his time. Not only were they anatomically correct, but they displayed his artistic mastery.

Leonardo actually came close to publishing a textbook of anatomy while he was living in Milan, but battles in 1511 drove him from the city and he never quite managed to finish it before his death in 1519. Instead, his drawings remained hidden away until the twentieth century.

Today, the Royal Collection is unveiling the largest ever exhibition of Leonardo’s anatomical drawings at The Queen’s Gallery in Buckingham Palace. They also teamed up with Touch Press to create an app based on the show. All the members of the team brought their A game to this undertaking. Leonardo da Vinci: Anatomy contains a richly informative narrative about the artist's hidden career as an anatomist, written by Martin Clayton, Senior Curator of Prints and Drawings at the Royal Collection. It is illustrated elegantly with Leonardo's drawings, as well as interactive images of human anatomy as we know it now. You can see for yourself just how good his drawings of the heart or uterus were. You can turn arms to see how well Leonardo appreciated the body's biomechanics.

These components are copious but never intruding. And they always answer the question raised in the reader's mind by the text. Videos from historians and scientists end each chapter–usually I hate these features, but in Leonardo, the talking heads actually have something to say.

The app also contains Leonardo's notebooks themselves. The interface for this part is nothing short of brilliant. You can search through the pages by organ or system. Each page is presented in its original state, scanned to exquisite resolution. Tap the screen, and the app instantly translates the inscrutable notes Leonardo scribbled by his drawings. Each page is also annotated with useful explanations of what Leonardo was contemplating with each image.

Three decades after Leonardo's death, Andreas Vesalius published Fabrica, which has long been considered the first modern work of anatomy. Leonardo da Vinci: Anatomy demonstrates that Fabrica was  not the only masterpiece of the body to come out of the Renaissance. Not many ebooks can claim such achievements.

 

Zimmer author photo squareCarl Zimmer writes frequently about science for the New York Times and is the author of 13 books, including A Planet of Viruses