Posts Tagged ‘Hogarth’
“Nature does not hurry, yet everything is accomplished”*…
Paul Constance on a chain of dedicated scientists who are building data sets on the natural world around us, and how– coupled with emerging new nature apps that enable citizen scientists– they are expanding our ecological attention span into the long now…
Every two weeks from March to November, Chris Halsch walks a ten-mile loop near the Donner Pass, high up in California’s Sierra Nevada, for the sole purpose of counting butterflies.
It is one of five sites at various altitudes that Halsch, a PhD candidate at the University of Nevada, Reno, has been visiting with metronomic regularity for the past five years. At each one he retraces his steps, pausing every so often to jot down species and numbers in a notebook.
Along the way, he sometimes meets recreational birders or hikers who take photographs and use nature apps to identify species for fun. But unlike those random snapshots, Halsch’s notes are a coveted resource for scientists. Once he types them into a spreadsheet, each of his data points adds a new segment to a chain of observations that has been growing without interruption for half a century, in one the world’s longest-lived efforts to monitor butterfly populations. Like a relay runner, Halsch is extending a marathon of sustained attention that began 20 years before he was born.
Multi-decadal time-series of field observations are among the rarest and most valuable artifacts in ecosystem science because they help to overcome a peculiar weakness in our ability to perceive and interpret the natural world. Humans have developed powerful methods for reconstructing events in the distant past, from the birth of a galaxy to mass extinctions in the Devonian. We have built instruments that can parse the present down to the zeptosecond. But when it comes to the modest timescale of our own lifespans, we are like near-sighted moles.
Weren’t there more birds in this meadow when we were kids?
Doesn’t it seem like spring is a lot rainier than it used to be?
Are you sure it’s safe to eat fish from this river?
Our answers to these types of questions are notoriously unreliable. Think of the tendency to describe a single weather event as evidence for (or against) climate change, or the panic caused by invasive zebra mussels that, 20 years later, turns out to have been misplaced. Perceptions are distorted by selective memories, cognitive biases, political agendas and shifting baseline syndrome—the propensity of each generation to gradually forget past environmental conditions and accept present ones as normal. In an essay published in 01990, the zoologist John J. Magnuson wrote that this temporal myopia can trap us in the “invisible present,” a space where we fail to see slow changes and are unable to interpret effects that lag years behind their causes. “In the absence of the temporal context provided by long-term research, serious misjudgments can occur not only in our attempts to understand and predict change in the world around us, but also in our attempts to manage our environment,” he warned.
Magnuson was echoing a group of mid-century scientists who believed that some of the biggest questions in ecology could only be answered with field observations that were carefully structured and repeated at the same sites for at least two decades. The longer the time-series, the greater likelihood that the invisible present will “melt away,” exposing the complex and often unexpected dynamics of ecosystem change….
[Constance describes a variety of efforts underway…]
… Collectively, these efforts are widening the aperture of our ecological attention, enabling scientists to find and stitch together scattered fragments of temporal data into panoramas that tell a more illuminating story about the interactions that drive change. Unfortunately, the emerging picture is still largely focused on wealthy countries—particularly ones with long histories of field-based science. A map of the International LTER network, an association of 750 field stations that, like their U.S. counterparts, are making long-term observations, shows that more than two thirds are concentrated in Western Europe. Numerous countries in Asia, Africa and Latin America have no stations at all. Moreover, even as scientists like Moran and Grames are exploiting the new wealth of temporal evidence, it is not clear how this research will influence the wider culture, where the blinkered perceptions of the “invisible present” are still pervasive.
The trend that may ultimately overcome both of these limitations is driven, paradoxically, by smartphones. Non-scientists have long been a critical source of field labor for long time-series, most famously for the Audubon Society’s 122-year-old Christmas Bird Count, but also in hundreds of smaller projects that monitor other kinds of flora and fauna. Now, smartphones with powerful cameras and apps such as eBird, iNaturalist, Seek and Picture Insect have enabled millions of casual observers to supplement this pool of dedicated volunteers. Despite the lively debate on whether smartphone usage in the outdoors enhances or interferes with people’s appreciation of nature, one fact is clear: because nature apps automatically time-stamp, geo-reference and store each observation in a robust database, they are generating potential time-series at an unprecedented scale.
In the 20 years since the Cornell Lab of Ornithology launched eBird, the app has amassed more than one billion observations by 700,000 birders from every country in the world. Carrie Seltzer, who heads stakeholder engagement at iNaturalist, says that more than 2.4 million people have made observations on the app, at a rate that has grown between 50 percent and 100 percent per year since 02012… This torrent of raw field data vastly exceeds what even well-funded researchers could ever dream of gathering with traditional methods…
Understanding the world around us: “Peering into The Invisible Present,” from @presentbias and @longnow. Eminently worth reading in full– then browsing the other remarkable pieces available on the Long Now website.
* Lao Tzu
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As we take the long view, we might send insightful birthday greetings to a man who encourages us to see in different ways, M. C. Escher; he was born on this date in 1898. A graphic artist inspired by mathematics, he created woodcuts, lithographs, and mezzotints, that— while largely ignored by the art world in his lifetime, have become widely celebrated. He’s been recognized as an heir to Parmigianino, Hogarth, and Piranesi.
His work features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations. And though Escher believed he had no mathematical ability, he interacted with the mathematicians George Pólya, Roger Penrose, and Donald Coxeter, and the crystallographer Friedrich Haag, and conducted his own research into tessellation.
For more on (and more examples of) Escher’s work, see here.


“a publisher’s emblem or imprint, especially one on the title page or spine of a book”*…
Knowing a book (or its publisher anyway) by its cover (art)…
Colophons started out as short statements providing a book’s publication info—details like where and who and when. Those statements often included little emblems, logos, which are now also referred to as colophons (from the Greek kolophōn, meaning “summit, final touch”), and they slowly made their way to the spines of books. Like tattoos or mascots, many of these logos depict animals, often fish (or dolphins): FSG, Anchor Doubleday, Aldine Press, and Houghton Mifflin Harcourt. Birds are another well-represented category: Penguin, Bantam, Norton, and Europa Editions, to name a few. So if you’re going to be judging a book by its cover (you’re probably kidding yourself if you think you don’t) then you better start factoring in the colophon as well.
These symbols are often taken for granted because most readers are, understandably, less familiar with publishers than writers or booksellers are, but they have a totemic quality to them that’s worthy of consideration, functioning not just as trademarks but as little windows into the personalities of the publishing houses and the people who run them. The following list is a very unofficial ranking of some of the more interesting colophons, the ones that take risks or have more of an emphasis on design, something unique about them, that offer subtle clues as to what awaits us inside…
“An Unofficial Ranking of Publishing Colophons“: Dylan Brown (@dylanwalsdorf) on the fishes, kangaroos, and borzois that adorn our books.
[With thanks to MK]
* “Colophon” as defined by Oxford Languages
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As we linger over logos, we might recall that in Britain on this date in 1752 absolutely nothing happened. There was no “September 3” (nor September 4-13) in Britain that year, as 1752 was the year that Britain converted from the Julian to the Gregorian calendar, which required an adjustment of 11 days. Thus, that year British calendars went from Wednesday, September 2 directly to Thursday, September 14.
Most historians believe that persistent stories of riots in England at the time, demanding “give us our eleven days,” are an urban legend, fueled in part by an over-enthusiastic take on Hogarth’s 1755 painting “An Election Entertainment”:

“The city, however, does not tell its past, but contains it like the lines of a hand”*…

As transportation got faster, cities got bigger: The borders of Ancient Rome, Medieval Paris, Victorian London, early 20th century Chicago, and modern-day Atlanta
In 1994, Cesare Marchetti, an Italian physicist, described an idea that has come to be known as the Marchetti Constant. In general, he declared, people have always been willing to commute for about a half-hour, one way, from their homes each day.
This principle has profound implications for urban life. The value of land is governed by its accessibility—which is to say, by the reasonable speed of transport to reach it.
Even if there is a vast amount of land available in the country, that land has no value in an urban context, unless transportation makes it quickly accessible to the urban core. And that pattern has repeated itself, again and again, as new mobility modes have appeared. This means that the physical size of cities is a function of the speed of the transportation technologies that are available. And, as speed increases, cities can occupy more land, bringing down the price of land, and therefore of housing, in newly accessed territory.
Modern Atlanta may bear little resemblance to the cities of past millennia, but its current residents share something fundamental with urbanites of the distant past: The average one-way commute time in American metropolitan areas today is about 26 minutes. That figure varies from city to city, and from person to person: Some places have significant numbers of workers who enjoy or endure particularly short or long commutes; some people are willing to travel for much longer than 30 minutes. But the endurance of the Marchetti Constant has profound implications for urban life. It means that the average speed of our transportation technologies does more than anything to shape the physical structure of our cities…
From ancient Rome to modern Atlanta, the shape of cities has been defined by the technologies that allow commuters to get to work in about 30 minutes: “The One Weird Rule That Explains Urban Sprawl.”
* Italo Calvino
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As we whistle “Heigh Ho,” we might recall that in Britain on this date in 1752 absolutely nothing happened. There was no “September 3” (nor September 4-13) in Britain that year, as 1752 was the year that Britain converted from the Julian to the Gregorian calendar, which required an adjustment of 11 days. Thus, that year British calendars went from Wednesday, September 2 directly to Thursday, September 14.
Most historians believe that persistent stories of riots in England at the time, demanding “give us our eleven days,” are an urban legend, fueled in part by an over-enthusiastic take on Hogarth’s 1755 painting “An Election Entertainment”:
“What’s in a name?”*…

Familiar to many will be that exasperating feeling that arises when accused of being that very thing you pride yourself on not being. It’s a feeling the English artist William Hogarth evidently felt acutely when critics derided him for being a mere “caricature” artist. So moved was he by this ongoing slight, that he produced this 1743 print explaining the difference between characters and caricatures — which Hogarth saw as radically different — and demonstrating his style as being firmly aligned with the former. For Hogarth the comic character face, with its subtle exploration of an individual’s human nature, was vastly superior to the gross formal exaggerations of the grotesque caricature…
More on Hogarth’s defense of his self-perception at “Characters and Caricaturas.”
* Shakespeare, Romeo and Juliet
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As we lament labels, we might recall that it was on this date in 1972 that Vesna Vulović entered the Guinness Book of Records. A stewardess for JAT Airlines, she survived a fall of 33,330 ft. when (what is believed to have been) a briefcase bomb exploded on her flight, and she was sucked through the resulting hole i the fuselage. She was the sole survivor of the incident.
A trick of perspective…

William Hogarth (1697-1764) was a British painter, printmaker, pictorial satirist, social critic, and editorial cartoonist sometimes credited with beginning the tradition of sequential art in Western culture (by virtue of his series of paintings depicting the rise and fall of a dandy, A Rake’s Progress).
Two centuries before M.C. Escher and his play on perspective, Hogarth created Satire on False Perspective. Subtitled, “Whoever makes a DESIGN without the Knowledge of PERSPECTIVE will be liable to such Absurdities as are shown in this Frontifpiece,” there are in fact quite a few absurdities buried within it. Click here for a larger version of Satire, and see how many you can spot…
Hogarth provided no key, but Wikipedia has accumulated a list of (so far) 22. To get you started: notice that the tavern sign is overlapped by two distant trees.
[TotH to Scientific American, from whence the image above]
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As we train our eyes on the vanishing point, we might spare a thought for Aphra Behn; she died on this date in 1689. A monarchist and a Tory, young Aphra was recruited to spy for King Charles II; she infiltrated Dutch and expatriate English cabals in Antwerp during the Second Anglo-Dutch War. But on her return to London, George II turned out to be a stiff; despite her entreaties, the King never paid her for her services. Penniless, Aphra turned to writing, working first as a scribe for the King’s Company (the leading acting company of the time), then as a dramatist in her own right (often using her spy code-name, Astrea, as a pen name). She became one of the most prolific playwrights of the Restoration, one of the first people in England to earn a living writing– and the first woman to pay her way with her pen. She was buried in Westminster Abbey, where the inscription on her tombstone reads, “Here lies a Proof that Wit can never be / Defence enough against Mortality.”


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