Tracking the propulsive power of science books

station-839208_960_720What makes a science tome so audacious, original and right that it kickstarts a life’s journey, propelling someone to the bench or field? Science writer Ann Finkbeiner (of The Last Word on Nothing) has written about that for A View from the Bridge. And when Academic Book Week fired up on 23 January, I started musing anew about encounters with remarkable books.

Academic Book Week celebrates “the diversity, innovation and influence of academic books” as forces shaping modern Britain. The popular vote went to economist John Maynard Keynes‘s 1936 The General Theory of Employment, Interest and Money. But despite the inclusion of works by Stephen Hawking, Richard Dawkins and James Watson in the ABW top 20, I saw a relative dearth of science in there. (No mention, for instance, of Charles Darwin’s On the Origin of Species or D’Arcy Thompson’s On Growth and Form.) Books that reveal the complexities of a culture to itself are essential. Books that unpick the complexities of nature seem as key.

So we asked readers to vote for their top science read – broadening the discussion by including any in the English language. Science writer David Quammen, for instance, cites David Hull’s 1988 Science as a Process and Horace Judson’s The Eighth Day of Creation (1979). Dawkins and Hawking are a noted presence, while Carl Sagan looms largest. Here’s a sampling:

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A straw poll among colleagues yielded more rich pickings. US news editor Lauren Morello recalls reading The New York Times Guide to the Return of Halley’s Comet (1985) cover to cover at age seven, while James Gleick’s 1992 Genius: The Life and Science of Richard Feynman proved a beacon in high school. Podcast editor Kerri Smith extols Oliver Sacks‘s 1985 The Man Who Mistook His Wife for a Hat, “which made science feel like storytelling and was so much more pleasurable to read than the classic but quite dense pop science I had read before”. She notes further: “Maybe not a causal relationship, but I did a MSc in neuroscience a couple of years later.”

Nature reporters reported no less galvanising reads. Heidi Ledford recalls encountering Cosmos early on – and “how excited I felt whenever I picked it up”. As a teenager, Lizzie Gibney found that Hawking’s A Brief History of Time “really made me think science. The Time and Space of Uncle Albert had a huge influence too.” Ewen Callaway names thrilleresque 1995 The Hot Zone – Richard Preston’s non-fiction tome on viral haemorrhagic fever – as key. And Amy Maxmen opts for E.O. Wilson’s 1994 Naturalist, which she writes “made me get serious about bug collecting in high school, which resulted in a 10-year detour in science”.

What science classic pried open the door to your life in science? We’d love to know: answers either to the comments on A View from the Bridge, or to @naturenews with the hashtag #AcBookWeek.

 

For Nature’s full coverage of science in culture, visit www.nature.com/news/booksandarts.

Thomas Bayrle: mesmerising machines

Posted on behalf of Lisa Vincenz-Donnelly

Rosenkranz (mixed media: VW engine, electric drive, sound), 2009.

Rosenkranz (mixed media: VW engine, electric drive, sound), 2009.{credit}Private Collection, Vienna. Photo: Werner Kaligofsky, VG Bild-Kunst, Bonn 2016{/credit}

In the 1950s, when the German Pop Art pioneer Thomas Bayrle first trained as a weaver, he says he was “put into a state of trance by the loud and monotonous noise of the machines — until they began to sing”. His more recent artworks, currently on display at an exhibition of wall pieces, light projections, videos and electronically driven sculptures at the Kunstbau gallery in Munich, have a similar mesmeric effect. The ‘continuous-loop’ animations and smoothly moving sculptures, accompanied by monotonous sounds, are hypnotic portrayals of mass production and the complexities of society.

In 1958, Bayrle moved on from textiles to become one of Germany’s most important post-war artists. Since the 1970s, he has famously engaged with subjects such as motorways, car and airplane engines and the nexus of humans and technology in a range of media — including silkscreen, lithography and etching – and in works such as Flugzeug (not in the exhibition). This huge collage of an airplane is made up of many thousands of depictions of airplanes. Bayrle was among the first in Germany to adopt Pop Art in the 1960s, and to create computer-generated art in the 1970s.

Thomas Bayrle with Autobahn, 2016.

Thomas Bayrle with Autobahn, 2016.{credit}Kunstbau gallery, Munich/VG Bild-Kunst, Bonn{/credit}

The unusually long Kunstbau gallery space is located at a metro station, in the underground mezzanine storey directly above the tracks. Bayrle, now 79, was inspired by the “architectural brutality” of the space to create an immense wall sculpture 30 metres long, Autobahn (which he describes as his ‘last Autobahn’ — true to his love of repetition, he has created many similar sculptures). It’s a massive grey construction of intertwined angular loops, echoing the never-ending movement of traffic. Bayrle sees motorways as the centre of humanity’s gigantic cycle of production, distribution and consumption — a dynamic that has now evolved into the main surveillance body of human mobility, the information highway.

One of the most impressive pieces, a 16-millimetre film of montages of black and white stills, Autobahnkopf, appears at first glance to be an image of an anatomical human head turning its face in all directions. A closer look reveals the image as constructed from many loops of footage of busy highways.

Monstranz, 2010 (mixed media: radial engine, electric drive, sound)

Monstranz, 2010 (mixed media: radial engine, electric drive, sound), with Autobahn (mixed media) in the background.{credit}© Thomas Bayrle and Museum Ludwig, Köln VG Bild-Kunst, Bonn 2016.{/credit}

Most compelling are sculptures created from scrap automobile parts, such as engines. Bayrle restores their working parts, exposing their solemn beauty in action, and supplies each with a unique soundtrack mixing the sound of the original machine with recordings of prayer groups. Bayrle first noticed parallels between religion and machines during his childhood. He used to live near a church, where a group of housewives stopped every Thursday to rattle off rosaries in a monotonous, yet powerful, manner. To Bayre, the rosary is like a type of machine – one that you power yourself as you work your way through its beads. And as he has noted, Tibetan prayer wheels mesh religion with machinery. In Monstranz, a nine-cylinder radial engine that once powered various utility aircrafts rotates to heavy hissing and grinding noises, merged with the recording of a church service from Cologne Cathedral. A Citroën car engine is matched to the chants of French prayer groups. The words blend into a multi-layered, repetitive, soothing soundtrack. In some pieces, the machines take on a life of their own: a Vespa engine seems to sing; a pair of windscreen wipers appears to wave.

In these extraordinary works, Bayrle captures the never-ending circle of production, distribution and consumption. As individuals, we come together in multitudes to form this massive system – like the threads that make up a fabric.

Lisa Vincenz-Donnelly is an editorial intern at Nature in Munich. She studied biochemistry in Galway, Ireland, and completed a doctoral degree at the Max-Planck-Institute of Biochemistry in Martinsried near Munich.  

 Thomas Bayrle runs at the Kunstbau, Munich to 5 March. A concurrent show, Thomas Bayrle, runs at the Institute of Contemporary Art, Miami, Florida, to 26 March.

 

For Nature’s full coverage of science in culture, visit www.nature.com/news/booksandarts.