A wily plotter and his pioneering atlas

Posted on behalf of Rosalind Cotter

A colour version of the Britannia strip map showing the route from Newmarket, Suffolk to Wells-next-the-Sea, Norfolk.

Figure 1 One of the ‘Principal Roads of England and Wales’ displayed in John Ogilby’s Britannia atlas. It shows the route from Newmarket in Suffolk to Wells-next-the-Sea in Norfolk. As well as towns, villages, bridges and churches, these scaled strip maps record every wood, common, ford and metal mine along the way. {credit}Wikimedia Commons{/credit}

When it comes to unearthing facts and piecing them together into a bigger picture, scientists arguably have it easier than historians. The forensic scientist has recourse to DNA, soil and pollen analyses. The astrophysicist and molecular biologist have big data and an arsenal of technology to collect and unravel it. Even the palaeontologist has a formidable taxonomic lexicon to fall back on. Historians have to make do with piecemeal facts and shadowy context, guided by sources that are often incomplete, unreliable and open to misinterpretation. They cannot systematically test their hypotheses or devise controls to shore them up.

Remarkable, then, to take a little-known seventeenth-century cartographer, shake together a kaleidoscope of disparate facts from his long life, and apply them to tease out a sinister political strategy, all carefully concealed in Britain’s first road atlas.

In The Nine Lives of John Ogilby, Alan Ereira does just that. Ereira is a master story-teller, and his biography of Ogilby (1600-76) is a riveting ride never dulled by its meticulously referenced detail. The backdrop to Ogilby’s colourful life includes the Gunpowder Plot, the English Civil Wars, the execution of Charles I, the Restoration of Charles II, the Plague and the Great Fire of London. His career encompassed the eponymous “nine lives”, as entrepreneurial lottery founder, celebrated dance master to barristers, impresario, poet, soldier and sea captain, secret agent, publisher of deluxe editions of classics and – at the grand age of 70 – Cosmographer and Geographic Printer to Charles II.

Portrait of John Ogilby (from a 1660 edition of Homer's Illiad).

Portrait of John Ogilby (from a 1660 edition of Homer’s Illiad).{credit}Wikimedia Commons{/credit}

Of these exploits, the most fascinating (and puzzling) to a scientist is the last. The king tasked Ogilby to draw up a road atlas of England and Wales as an aid to the fledgling postal service, but this was to be much more than a simple precursor of today’s motoring guides. Using a device he dubbed a “wheel dimensurator”, a push-along wheel 5 metres (16.5 feet) in circumference that incorporated a dial to record distance, Ogilby painstakingly compiled mile-by-mile strip maps of 73 roads (see Figure 1, above). Between them, these covered 12,070 kilometres (7,500 miles). He plotted details of natural and man-made landmarks along the way at a scale of 1 inch to the mile, a mapping standard later adopted by the British Ordnance Survey until the 1970s. The distances catalogued, allowing for land contours, accord to within roughly 5% of interpolations from Google Earth.

At that time, precision measurement was equated with scientific authority. Therefore the king commandeered physicist Robert Hooke  and architect Christopher Wren, both fellows of the Royal Society, to advise Ogilby. They devised questionnaires for the project’s surveyors to ask locals as they passed through villages:  strange questions, about possible landing sites and unusual tides, watercourses and locations of farms and metal mines. No expense was spared. The eye-watering production costs, equivalent to roughly half a billion pounds today (comparable with Google’s annual expenditure on Google Maps), were at odds with the impoverished state of the country after the English Civil Wars (1642-51) and the second Anglo-Dutch War (1664-67).

The stupendous efforts of Ogilby and his surveyors and engravers culminated in a magnificent volume comprising 100 plates, Britannia, published in 1675 (its resplendent frontispiece is shown in Figure 2, below). Weighing almost 8 kilograms, it was hardly handy for travellers. The routes depicted were surprising too. Why London to Aberystwyth, a small place today and a mere fishing hamlet in the seventeenth century? And why no mention of key commercial thoroughfares such as the road to Liverpool?

Figure 2 The frontispiece of John Ogilby’s Britannia. The gateway is flying the royal standard and bears the arms of the City of London. In the foreground, a map is being made by surveyors at a table of instruments. The three distant figures on the right are working with Ogilby’s measuring wheel: one is pushing it, one is cleaning the mud off, and the horseman behind is making notes and checking the direction of travel on a compass. Curiously, they are moving along a small track and not along the main highway. This and other mysteries, as well as secret codes hidden in the plate, are discussed in The Nine Lives of John Ogilby.

Figure 2 The frontispiece of Ogilby’s Britannia. The gateway is flying the royal standard and bears the arms of the City of London. In the foreground, a map is being made by surveyors at a table of instruments. The three distant figures on the right are working with Ogilby’s measuring wheel: one is pushing it, one is cleaning the mud off, and the horseman behind is making notes and checking the direction of travel on a compass. Curiously, they are moving along a small track and not along the main highway. This and other mysteries, as well as the secret codes hidden in the plate, are discussed in The Nine Lives of John Ogilby.{credit}Courtesy of Swansea University, Information Services & Systems (ISS){/credit}

Ereira picks up on all the signs that Britannia could be a military atlas rather than a postal one, as officially designated. The routes seem to have been selected for landing marching armies, punctuated with conveniently placed metal mines for producing armaments. There were Catholic shrines marked too — surprising in a Protestant nation. Ereira’s hunch is given credibility by the secret Treaty of Dover, drawn up in 1670 by Charles II with his cousin Louis XIV of France just before the start of the Britannia project. That secret lay hidden for almost 100 years.

The Treaty stemmed from Charles’ vulnerability to covert political and religious forces across the land, after nine years in exile during Oliver Cromwell’s interregnum. Charles’ solution was to seek direct power for himself. (His inspiration was Frederick III of Denmark, who set himself up as Europe’s first monarch to rule by absolute decree after a resounding victory over the Swedes in 1660 gained him immense popularity.) First, Charles needed a glorious military victory over the Dutch, preferably funded by France. But the price for French assistance would be to shift Britain back to Catholicism. The Treaty was duly signed. Ogilby, now turned spy, was commissioned by Charles to amass the information necessary for military back-up by French troops in the event of popular insurrection. They could land unobtrusively at any of the potential invasion points identified on the map as having a functioning roadway, such as Aberystwyth or Wells-next-the-Sea.

As it turned out, no such invasion was necessary. The victory over the Dutch was modest and contributed nothing to Charles’ popularity. There was no uprising. Instead, Charles achieved absolute power by dispensing with Parliament and using the information in Britannia to remove opposition town by town. Ogilby died the year after Britannia was published — but Ereira has given new life to this extraordinary man and his meticulously compiled roadmap.

Rosalind Cotter is Nature’s Correspondence editor.

 

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

The making of science

Posted on behalf of Jo Baker

Make-Shift-lock-up-1_eps fin4Scientists are makers. The specialized skills they hone in the lab over many years – from assembling robots and circuits to growing microbes and cells – mirror the practices of artisans such as seamstresses and potters. Chemists may melt, stretch and snap a glass tube to make a pipette. Jewellers rearrange silver atoms each time they warm the metal to anneal or soften it.

Bringing together makers of all stripes to innovate was the focus of MAKE:SHIFT, a two-day biennial conference this month in Manchester’s Museum of Science and Industry, home to Charles Babbage’s loom-inspired computing machines. Scientists and designers explored in talks, panel discussions and demonstrations how joint working can advance sustainability, healthcare and communities.

Across smart materials, biodesign, wearable electronics and more, the speakers showed how such collaborations have led them to think and work differently. They explored emerging trends, such as 3D printing and small-scale production. And they asked big questions, such as how the concepts of craft and making have become lost in today’s digital world of instant gratification, yet remain central to hatching new models and cultures of innovation. The following insights and individuals stood out.

Tools and workshops are increasingly accessible, linked and powerful. Fabrication labs or ‘fab labs’ – where members of the public and skilled experts recycle furniture or even edit genes – are proliferating. There are now 700 around the world. And 16 cities (including Barcelona, Boston in the US and Shenzhen) have signed up to become ‘fab cities’– aiming to produce locally 50% of what they consume by 2054. Online networking and exchanges of experience between make spaces is increasing, linking know-how in California with needs in Cape Town, for example.

Small-scale manufacturing is on the rise, aided by the Internet and cheaper production technologies such as 3D printers. Digital blueprints allow anyone with such means to construct furniture or even houses locally. Generic designs can be customized. Garment patterns that can be tweaked and knitted on demand avoid wastage. Customers increasingly care where their products come from, and value sustainability, social good and ethical work practices.

The nature of materials is being rethought. Bio-materials such as fungal webs (mycelium) can be used to ‘grow’ bricks, pots and even dresses on wood-chip, clay or textile frames. Amsterdam-based ecodesigner Maurizio Montalti of Officina Corpuscoli described how, after working with University of Utrecht microbiologists on scaling up these fungal creations, his studio began to look more like a lab. University College London materials scientist Mark Miodownik invoked a future devoid of roadworks if self-healing asphalt becomes reality.

Fungal Futures: a selection of mycorrhyzal materials by Maurizio Montalti for Officina Corpuscoli.

A selection of materials grown directly from fungi by Maurizio Montalti for Officina Corpuscoli.{credit}Fungal Futures © Maurizio Montalti-Officina Corpuscoli, 2016{/credit}

The Anthropocene offers new geologically inspired materials. ‘Fordite’, or ‘detroit agate’,  is made from fine layers of hardened car paint and can be cut and polished like semi-precious stone. We may one day dig up deposits of ‘bone marble’, retrieved from the metamorphosed skeletons of culled farm animals. The fashion industry is the second most polluting in the world, but sportswear company Adidas is scooping waste plastics out of the ocean to make its knitted footwear.

Crafts people are sensitive to people’s emotional responses to materials and objects. Yet few designers are included in research teams examining interactions between robots and humans, for example. Caroline Yan Zheng from London’s Royal College of Art is using soft robotics to make wall panels and accessories that swell or reshape in response to facial emotions. People tell her they find them comforting; one day they might be used to promote calm in hospitals.

Caroline Yan Zheng's soft robotic artefact prototype #4, exploring the performativity of kinetic silicone soft robotics.

Caroline Yan Zheng’s soft robotic artefact prototype #4, exploring the performativity of kinetic silicone.{credit}Caroline Yan Zheng, 2016{/credit}

Surgery is a craft – you don’t want your operation done by someone who has only read a book. Richard Arm from Nottingham Trent University brought in gorily realistic models of parts of the thoracic cavity that he has been making in silicone for surgeons to train on – complete with slimy finish, spurting arteries and the slash across the chest for you to dig your hand into. But introducing design innovations into the healthcare sector is difficult, Jeremy Myerson from the Royal College of Art noted; the sector is risk averse. His redesigned ambulance interior reduces the time it takes for paramedics to treat a patient’s wounds, by giving them better access to the patient and equipment. Yet, despite running it through ‘clinical trials’ successfully, it has yet to be taken up.

For making to drive innovation, many challenges need to be overcome. Craft has an old-fashioned hobbyist image, and many courses are closing as universities struggle to attract students. Yet jewellers and textile and industrial designers are open to new materials and technologies as never before, while few scientists are trained in metalworking or AutoCAD. And it is hard even to define what tacit skills and knowledge are.

Gravity Stool (detail) by Jólan van der Wiel, 2012. Photo

Jólan van der Wiel’s Gravity Stool (detail), created from magnetic plastic compounds, 2012.

That said, some technologies are overhyped. 3D printing remains expensive and impractical with many materials, such as porcelain. While printing is useful to make a detailed prototype, traditional processes like casting are often better for mass production. Also, the software needs to become more intuitive. Ann Marie Shillito of Edinburgh College of Art showed how she is using touch-sensitive ‘haptic’ computer design software to form organic shapes.

So how far can this model of local production be scaled? Ways must be found to promote collaboration between workshops, and optimize who makes what, where. And new business models are needed so that small-scale manufacturers can make a living; most workspaces depend on government grants. Nonetheless, MAKE:SHIFT was a heartening experience that highlighted what science and design have in common rather than, as is too often the case, what divides them. After all, even graphene (carbon that is 1 atomic layer thick) has been linked to traditional craft: the Japanese paper-cutting art of kirigami have been applied to graphene sheets to make stretchable electrodes, hinges and springs.

Jo Baker is senior Comment editor at Nature.

 

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

Electrifying: Tesla on television

Posted on behalf of Liesbeth Venema

teslaseries_poster_medtAn eccentric genius in an impeccable suit and a level-headed young sidekick who have to use their wits to combat a time-travelling automaton and save the Earth. No, this is not the plot of the latest Doctor Who. It is Nikola Tesla and the End of the World, a fun and highly original four-episode science fiction series created by Ian Strang nominated at the 2015 Raindance film festival best British Series category (and available free to view online).

What is the greatest innovation the world has ever seen? According to physicist Sophie Clarke (played by Gillian MacGregor), the doctor in this fictional duo, it is the transmission of energy. This is a topic the real-life nineteenth-century engineer-inventor Tesla thought a great deal about, and in a way that often leaped far ahead of his time. Tesla shaped the modern world with inventions such as the alternating current system for large-scale electric power distribution, radio transmission and fluorescent light bulbs.

Several of these exist only as sketches for patents, and more than a few conspiracy theories about their intended purposes do the rounds. It doesn’t help that Tesla himself made outrageous claims such as being able to receive extraterrestial signals. He indulged in ambitious visions of human advancement and tried to build a power station — the infamous Wardenclyffe tower in New York —  that would provide the world with free wireless communication and energy by making use of the Earth’s electromagnetic field. The project was doomed, leaving Tesla penniless and with his reputation shattered. Recent years have seen a renewed interest and re-appreciation of his work. For example, a new documentary, Tower to the People, hymns the concepts and humanitarian vision behind the Wardenclyffe project.

Doubly ahead of his time

For an SF series like Strang’s, it is a stroke of genius to transport to the present a charismatic inventor decades ahead of his contemporaries and pair him up with a down-to-earth physics lecturer. The action starts when Clarke stumbles upon a detailed sketch for a wireless power transmitter with Tesla’s signature and does the only reasonable thing a clear-thinking experimental physicist would do: tries to build it.

Tesla (Paul O'Neill) and Dr Clarke (Gillian MacGregor) find their way round the London Underground.

Tesla (Paul O’Neill) and Dr Clarke (Gillian MacGregor) find their way round the London Underground.{credit}Ian Strang{/credit}

Clarke’s first test, sensibly carried out outside at a safe distance from any power cables, doesn’t go as expected. The machine’s mechanical components become unexpectedly electrified: discharge currents flow, bulbs light up, an energy beam shoots out and finally, a rift in time and space appears through which a rather dashing Tesla (Paul O’Neill) materialises.  And with him, a whole bunch of misguided conceptions about technology, humanity and social norms.

This Tesla is full of initiative and wants to see immediately what great social advances his inventions have wrought. Inevitably, modern life disappoints him. He decides the world needs to be enlightened with his ideas — which for him, means he has to enlist the support of industrialists: “Bring me to Richard Branson!”

Clarke’s answer to Tesla’s rash plans is to go to her London university to do proper tests. But her motto — “There’s value in understanding how things actually work” — falls on deaf ears. The two must, however, overcome their differences as it soon turns out something went horribly wrong. The time machine conveyed a villainous figure to the present who also intends to deploy Tesla’s inventions — but to destroy the human race. Soon, lightning bolts are striking all over London and, as a warm-up, the Bank of England is blown up.

Dr Clarke and the 'time machine'.

Dr Clarke and the ‘time machine’.{credit}Ian Strang{/credit}

Only in the fourth episode do we see this mysterious figure – and an answer to the burning question of why he has a bad French accent (no spoilers, you’ll have to see for yourself). Fortunately, by the end Tesla has learned to value Clarke’s common sense and has accepted her as his equal.

Strang has taken a great physics geek idea and run wild with it. There are some wonderful exchanges between Tesla and Clarke: in one striking scene, the mismatched duo walks back to London along a deserted path on an icy afternoon, arguing about whether or not Tesla waves are possible. Unavoidably, a few action scenes feel a bit amateurish, but a huge amount of attention has gone into details such as the original musical score by Canadian songwriter Connie Kaldor.

One quibble: though Clarke disproves many stereotypes and doesn’t overplay the geek-card, she could do with a bit more personality. Throughout she remains unreasonably unfazed. She announces that “something is wrong with the weather and I am pretty sure we have something to do with it” as if saying she may have accidentally knocked over a shelf in Ikea’s furniture showroom.

But her character will surely develop in further episodes, which I absolutely hope will be filmed. (Strang promises to do so if there is sufficient interest.) For now, we have to trust that Clarke isn’t going to sit still knowing there is an evil force lurking in the future waiting to destroy the world as we know it, using Tesla’s invention of free energy transmission. “I’d better get on that,” she assures us.

Liesbeth Venema is senior physics editor at Nature. She tweets at @LCVenema.

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

A taste of tomorrow: Nesta’s Futurefest 2015

Posted on behalf of Elizabeth Gibney

Neurosis FutureFest 2015 006

Neurosis, the ‘world’s first neuro-driven thrill ride’.{credit}Nesta Futurefest 2015{/credit}

In his red ‘mad professor’ overalls, Brendan Walker runs through what will happen to me in the next few minutes. After a helmet of 14 electrodes has been fixed to my head, I will be strapped into a pneumatically controlled motion simulator, which is perched precariously above a crowd of people. I will then enter a virtual reality world controlled by my brain.

I’m taking part in Neurosis, billed as ‘the world’s first neuro-driven thrill ride’. It’s an exhibit at Futurefest 2015, a weekend-long event that aims to give visitors a taste of the coming decades. In the future, the brain will be another material for the entertainment industry to play with, says Walker, who as well as a ‘renaissance showman’ is an engineer and designer at the universities of Nottingham and Middlesex, UK.

It is a fascinating idea. Electrical activity across my scalp feed into the experience, and levels of excitement, boredom and focus dictate the frenzy or otherwise of the music, motions and visualizations as I disappear through psychedelic tunnels reminiscent of the end of 2001: A Space Odyssey. The more you concentrate, the easier the ride, so I cheat by doing some mental arithmetic, and hope it doesn’t ruin Walker’s research data.

Futurefest 2015 is the second such event run by Nesta, a UK charity focused on innovation. Formerly the National Endowment for Science, Technology and the Arts, it organised last year’s Longitude Prize. The festival’s scope is ambitious: to shine a light on coming trends and show possible futures for democracy, the planet, machines, money, music and thrills.

The Blind Robot.

The Blind Robot.{credit}Nesta Futurefest 2015{/credit}

Held in the cellars and arches of the wine bar Vinopolis on London’s South Bank on 14 and 15 March, the lively event pulled in a crowd of 3,000 people, who appeared as technology savvy and creative as the speakers (only Luciano Floridi – a philosopher and ethicist at the Oxford Internet Initiative who gave a mind-blowing talk on how there is no such thing as ‘things’ – sported a suit). At every turn was a new feast of performances, interactive experiences and talks, by the likes of fashion designer Vivienne Westwood, whistle-blower Edward Snowden (in virtual form), and human rights barrister Helena Kennedy.

Trends and translations

Predicting the future is, of course, fraught. While global warming and population increase are juggernauts that cannot be stopped, huge uncertainties lie in how we deal with them. In curating the festival, Nesta – an organisation with its feet planted firmly in arts, social entrepreneurship and science camps – seem to have taken plausible trends and translated them to glimpses of possible futures. Often this was insightful and thought-provoking; occasionally the link felt a little tenuous.

One of my favourite exhibits was The Blind Robot, whose robotic arms tentatively explored each volunteer’s face. The intimate experience is not about technology, explained one of the project’s organisers, artist Geraldine Alger, but testing human reactions. Robots that look like humans but miss some crucial details have the ability to make us uncomfortable, she explained; yet interactions with robots may be ubiquitous in the future.

BitterSuite.

BitterSuite.{credit}Nesta Futurefest 2015{/credit}

Another delight was BitterSuite, whose performance combined music with taste, smell and touch sensory experiences. As Oxford psychologist Charles Spence explained after the show, some 80-90% of people have common associations between sensations (sweet, for example, goes with red things and high-pitched sounds). Inspired by this, BitterSuite has choreographed a wholly new and intense way to experience classical music, something that may well be popular in a future where stimulating one sense is not enough.

Sociable robots

Other events were less satisfying. The installation Emotive City, commissioned for the event, was intended to represent the future of cities, deemed by its creators from the architecture and design company Minimaforms as less top-down and more adaptive and regulated by the people within them. At its heart are robots controlled via their attraction to mobile phone lights, their level of ‘sociability’ dictated by a changing social media stream. Its relevance to self-organised cities was lost on me, and an abstract explanation from the creator left me none the wiser.

A talk and tasting session with food futurologist Morgaine Gaye and chocolatier Paul A Young also left me wondering. Future water shortages could well lead to a new reverence for water, but will it really mean we eat dehydrated vegetables covered in chocolate? The rising price of cacao could make chocolate bars tiny, but will a “fashion for disruption” mean they come in graffiti colours? And will “everyone” have a candyfloss lamp in their house in 2050? The audience for these might have been aspiring marketing executives, not inquiring minds.

At the start of Futurefest, chief executive Geoff Mulgan highlighted how Nesta championed the use of evidence in decision-making. That idea stayed with me throughout; while many of the visions of the future seemed solid, more than once I found myself asking how likely others actually were. Yet, if you can suppress your inner cynic, such playful explorations of possibility can be a pleasurable counterweight to more dystopian scenarios.

 

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