The deck stacked against women in science

Posted on behalf of Nicola Jones

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The card deck featuring women in science and engineering.{credit}Nicola Jones{/credit}

The player on my left has the biochemist Maud Menten’s career well on track. Suddenly another player slaps a “stupid patriarchy” card on Menten’s head, and she has to earn her doctorate all over again. So goes a novel card game devoted to women in science and engineering, designed to highlight these unsung researchers and the barriers and boons that women in these fields experience.

Alice Ball, the chemistry student who

Alice Ball, the chemist who isolated an early effective treatment for leprosy.{credit}University of Hawaii{/credit}

Menten (1879-1960) was one of the first women in Canada to earn a medical degree atop her PhD. But at the time women weren’t allowed to do research at Canadian universities; she had to conduct her famous work on enzyme kinetics in the United States and Germany. Menten is one of 21 pioneering women scientists, mostly from North America, featured in the game — the latest in a series that began in 2000 with a biodiversity game called Phylo. The card deck was developed by an innovative science outreach programme at Vancouver’s University of British Columbia (UBC), in collaboration with Westcoast Women in Engineering, Science and Technology (WWEST) at Burnaby’s Simon Fraser University (SFU). Players complete researchers’ careers by collecting cards for achievements such as degrees, and try to avoid setbacks — such as the “tokenism” card, which wipes a scientist in play off the table.

“These are my favourites,” says computer engineer and WWEST chair Lesley Shannon, pointing to Alice Ball and Hedy Lamarr. Ball (1892-1916), the first woman and African-American Masters graduate from the University of Hawaii, developed a critical leprosy treatment. After her early death, university president Arthur Dean took credit for her work. Hollywood star Lamarr (1914-2000) co-invented frequency technologies used in WiFi and beyond.

Hollywood star and xxx Hedy Lamarr.

Hollywood star Hedy Lamarr co-invented key frequency technologies.{credit}MGM{/credit}

Shannon and I put the game through its paces with three researchers from SFU: applied ecologist Anne Salomon, glaciologist Gwenn Flowers and physicist Sarah Johnson. We try to figure out the best strategies and which cards to play: scientists with more complex careers are worth more points. Completing the challenging career of a woman of colour nets a bonus point. Modifier cards can help as well as hinder progress: “mentors are awesome”, for example, gives a player a boost via an extra card.

The discussion provoked by the game is as interesting as the action. Sighs of recognition greet the setback card “ways of the Queen Bee”, which marks how women scientists sometimes undermine female colleagues. “I’ve been there,” says Shannon. Johnson counters: “I haven’t experienced this — perhaps because I haven’t had many female colleagues.”

Some have positive stories to tell: Salomon recalls one senior female mentor who offered to review her grant requests, in the name of building up a “good old girls’ club”. Since, she has tried to pay that idea forwards, helping more women to be invited onto panels or keynote lectures, get funding and publish. “We retain the rigour of peer review,” she says, “but that back door works to even the balance.”

Although women have, since the 1990s, earned about half of US science and engineering undergraduate degrees, as of a 2011 study they still held fewer than 25% of STEM jobs, were paid 86 cents on the dollar, and were seriously under-represented in degrees for fields like engineering. A recent study in Science showed that girls tend to think less of their intellectual abilities as early as age six. When 96 children were told a story about a “really, really smart” adult and asked to pick a face to match the story, for example, 5-year-old boys and girls both picked someone of their own gender about 70% of the time. But among 6- and 7-year-old girls, this percentage dropped to about half. More role models are among the many fixes proposed to shift the entrenched bias.

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{credit}Nicola Jones{/credit}

WWEST’s mission is to help reverse such trends, in part by funding outreach projects. So when David Ng — who handles educational outreach for UBC’s Michael Smith Laboratories — approached them with the idea for the game in 2015, it was a good fit. Ng’s initiatives have included literary science magazine Science Creative Quarterly and other card sets (such as Phylo).

The games are crowd-sourced; anyone can invent one, or contribute to one, and the sets are available to download for free. If you play it, you start to get at least an inkling of the challenges around gender equity,” says Ng. “This is just a starter deck. Hopefully people will add to it.”

While aimed at pre-teens, when Shannon says many girls begin to turn away from science, the appeal of the women-in-science game is broader. Some of the harsher modifier cards (such as one that reads “mistaken for a janitor”) could, note Shannon and Ng, be removed from the game for more-impressionable age groups.

Mid-game, Johnson looks at the cards on the table and comments: “They’re all overachievers”. These women, she notes, had to be smarter and work harder to get the same recognition as male scientists — echoing her own undergraduate experience. “All of the female physics majors I knew were A students. This was not true of the men,” she says. That’s just one thing this worthy game aims to reverse.

Nicola Jones is a freelance science writer and editor living in Pemberton, British Columbia.

Download the game at https://www.sfu.ca/wwest/projects/phylo-card-deck.html

For more on science and culture, see: https://go.nature.com/2CMOwaL

 

Bricks + Mortals: mapping the racist roots of science

Posted on behalf of Buddhini Samarasinghe

Subhadra Das,xxx

Subhadra Das, curator of the UCL Galton and Pathology Collections, at the opening show for Bricks + Mortals.{credit}Buddhini Samarasinghe{/credit}

If walls could speak: the saying might have been tailor-made for University College London’s new exhibition. Bricks + Mortals uses the campus buildings to tell the story of how eugenics gained a foothold at the university over a century ago. The epicentre, a lab for “national eugenics”, was set up in the early 1900s by Francis Galton, the Victorian mathematician and ‘father of eugenics’ whose crude bolting of statistics to human variety marks a nadir of modern science. Several UCL buildings and lecture theatres still bear the names of eugenicists.

The story uncovered by Bricks + Mortals — brainchild of the inspiring Subhadra Das, who curates the UCL Galton and Pathology Collections — is one I was only vaguely aware of. Uncomfortable topics make people uncomfortable: it’s easier to look the other way and pretend that the past belongs in the past. It’s convenient to believe that we gain nothing from considering its sepia-toned mistakes too closely.

This show proves otherwise — and is, moreover, a valuable puzzle piece in a historical jigsaw covering much of the globe. While geneticists today wielding the CRISPR scissors focus on ending disease, Galton had very different ideas for ‘bettering’ society. His theories (as he put it in the 1883 Inquiries into the Human Faculty and Its Development) aimed to allow “the more suitable races or strains of blood a better chance of prevailing speedily over the less suitable”. Galton’s racism and conflations of class and intelligence accelerated an early twentieth-century movement in Britain, Canada, the United States and much of Europe that targeted minority groups and people with disabilities as ‘unfit’ to reproduce (such as the infamous US case of Buck v Bell).

Given the depth of that stain on science history, it’s remarkable that Bricks + Mortals was launched at a comedy show in November, hosted by iconoclastic comic Sophie Duker. As it turned out, comedy was a great way to confront and tackle the topic.

The evening began with short acts performed by UCL students and staff. Biologist Oz Ismail, social scientist Amanda Moorghen, health scientist Asma Ashraf and biochemist Michael Sulu shared their experiences of working in academia with affecting honesty. Their humour worked because we the audience could relate to them — it was a case of if you don’t laugh, you’ll cry. For example Ismail, cofounder of Minorities in STEM, shared how during his research he learned about Emil Kraepelin, co-discoverer of  Alzheimer’s disease, and his racism and anti-Semitism. Moorghen, a researcher with the English Speaking Union, talked about the influence of Nazi ideology on education and intelligence testing.

Digging for the backstory

Das then spoke about the Galton collection — the instruments, papers and personal memorabilia endowed by the mathematician to UCL, along with a bequest funding the first chair of eugenics in Britain. The university still has a Galton Professor, although today it is of Human Genetics – yet you’d have to dig to discover that backstory. Das approaches her work with nuance and depth. She is frank about Galton’s racism; she also notes his contributions to ideas and inventions, for example in meteorology and criminology.

Das reminded us that any narrative on eugenics must include its racist and colonialist roots — as well as how its ideas have to some degree seeded research today. As she notes, “When Empire happened, science happened at the same time.”

Bricks + Mortals — a tour marking out UCL buildings with historical links to the university’s involvement in eugenics — is a palpable testament to that. The show’s podcast, downloadable here, can be used as a walking guide for understanding the legacy. For example, the tour describes the Galton Lecture Theatre. The Pearson Building, once home to the department of eugenics and now housing the geography department, was named in honour of the statistician and ardent eugenicist Karl Pearson, a close friend and collaborator of Galton’s.

For me, the comedy night and the exhibition were a reminder that we need to extend the scrutiny Das suggests to all branches of science. For example, it is chilling to appreciate that American physician J. Marion Sims, hailed by some as the ‘father of gynaecology’, experimented on enslaved women without their consent or anaesthesia, because it was widely believed at the time that women of colour were incapable of feeling pain. Indeed, this racist belief exists even today: a recent study demonstrated racial bias in how medical providers assess black patients’ complaints of pain, leading those providers to consistently undertreat black patients and ignore their symptoms. It is sobering, too, to recall that in the seventeenth century, a number of Royal Society members also belonged to the Royal African Company, a key player in the slave trade.

Projects such as Bricks + Mortals provide necessary historical context for understanding today’s scientific concepts. Too often we forget that although science and the scientific method have ideals unencumbered by biases or emotions, scientists are people and are subject to the same cultural norms and beliefs as the rest of society. And as this exhibition and show remind us, we carry the weight of centuries of biases.

Buddhini Samarasinghe is a science writer with a background in molecular biology and cancer research. Her writing can be found at Jargonwall. She is also the founder of STEM Women, an initiative dedicated to promoting and celebrating women in STEM. She tweets at @DrHalfPintBuddy.

Bricks + Mortals runs through 22 December.

 

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

 

 

 

 

 

Superbugs: fighting the flood of antimicrobial resistance

Posted on behalf of Andrew Jermy

Enterobacter cloacae, Enterococcus faecalis, Staphylococcus epidermidis and the Superbugs exhibition.

Petri dishes with cultured Enterobacter cloacae, Enterococcus faecalis, Staphylococcus epidermidis and Escherichia coli at the London Science Museum’s Superbugs exhibition.{credit}® The Board of Trustees of the Science Museum{/credit}

Antimicrobial resistance has spread to London this month. The source of the outbreak? The Science Museum: its new exhibition, Superbugsexplores this monumental issue and our responses to it.

As Superbugs graphically shows, the inflammatory tone of the many headlines predicting an impending antibiotic apocalypse is not baseless. The evolution and spread of resistance among serious (and increasingly commonplace) bacterial infections continues to blunt much of our antibiotic arsenal, and make routine operations significantly more risky. Such infections now claim almost 700,000 lives annually, a figure that could rise to more than 10 million by 2050.

Superbugs isn’t out simply to scare, however. Much like Nature Microbiology, the journal I edit, the Science Museum aims to join the ‘resistance against resistance’ by shining a light on the problem’s scale, and the range of potential solutions.

The monumental 'wall' and towers at the exhibition.

The monumental ‘wall’ and towers at the exhibition.{credit}{credit}® The Board of Trustees of the Science Museum{/credit}{/credit}

The physical design of the installation aptly reflects aspects of the crisis. A vast illuminated wall dominates; set into it is a series of displays. This monolith, emblazoned with the show’s title, speaks of antibiotics’ barrier function — how they act as a great dam holding back a flood of infections. Standing in front of this cracked levee are 12 small towers into which have been set Petri dishes. Each contains a different type of (inactive) microbe, including MRSA and Neisseria gonorrhoeae — like outposts of resistance that have breached the barricade and now mingle among the crowds. It’s a powerful scene.

I was drawn irresistibly to the inset display cases. Combining text with striking visuals and interactive content, these take the visitor through medical history, from the discovery and introduction of antibiotics in the first half of the twentieth century, to the rise of resistance in the years following the introduction of each new drug, to ongoing efforts to revitalize our dwindling drug cabinet. Peppered through are personal testimonies. We meet doctors explaining why antibiotics are overprescribed; a nurse reminding of the fundamental importance of their work on infection control; designers who create products that enable no-touch use, or incorporate anti-bacterial materials, to reduce the risk of transmission.

Interviews with nurses, medics and others waging war on antibiotic resistance feature in the exhibition.

A display on the people at the frontline of ‘resistance against resistance’.{credit}® The Board of Trustees of the Science Museum{/credit}

We hear a recording of bacteriologist and discoverer of penicillin Alexander Fleming, describing how microbes can become ‘educated’ to resist a drug. A culture of Penicillium mold grown from a stock of his original sample is shown nearby. A video describes the harrowing experience of Geoffrey Pattie, a cancer patient who during surgery contracted a strain of Klebsiella pneumoniae resistant to all current antibiotics. He spent five months in an isolation ward, and today lives with the life-altering effects of the infection, such as reduced mobility.

Nearly half of antibiotic use occurs in agriculture, to treat and prevent infection in livestock, but often also to promote growth. The drugs and bacterial resistance genes that they select for become widespread in terrestrial and marine environments, giving a large potential reservoir from which resistance can leap into clinically relevant pathogens. Inevitably, that is a serious problem for human health. The show reveals some of the technological fixes that are being investigated, including automated systems for monitoring livestock welfare to allow targeted interventions rather than treating an entire herd prophylactically. Also presented are possible alternative approaches to tackling infections, such as phages (viruses that kill bacteria) sourcing new antibiotic leads from oceans, soils and host-associated microbiomes in humans, komodo dragons and leafcutter ants.

The promise of such efforts is stirring. But finding a new antibiotic class that will make it to the clinic is “like searching for a needle in a field of haystacks”, cautions one researcher interviewed.

The bacteria leafcutter ants use to defend their nests against fungi and microbes excrete chemicals that are effective antibiotics.

The bacteria leafcutter ants use to defend their nests against fungi and microbes excrete chemicals that are effectively antibiotics.{credit}® The Board of Trustees of the Science Museum{/credit}

What isn’t covered in much depth is the parlous state of the antibiotic R&D pipeline. Many large pharmaceutical companies have closed their antibiotic development programmes in recent years. That includes Pfizer, the main sponsor of the exhibit — although the company did announce in 2016 that it planned to acquire AstraZeneca’s antibiotics division, and reinforced a strategic focus on tackling infectious diseases. The economics of antibiotic discovery and development is complicated: to bring a drug to market takes a massive investment in time and finances. Yet we will need these new drugs to be used ever more sparingly in future. So, under the current system, there is actually a disincentive for industry to put in the necessary investment – they would never break even, let alone see a return.

Superbugs is doubly timely. This week (13-19 November) is the World Health Organization’s World Antibiotics Awareness Week 2017, an opportunity to take stock of progress. Antibiotic resistance, until recent years a concern only of clinicians and microbiologists, is now globally recognised as a crisis through the work of key individuals, such as Britain’s chief medical officer Sally Davies, and reports from national and international bodies. In 2016 this culminated in the UN High-Level Meeting on Antimicrobial Resistance (see this Nature Microbiology editorial).The rise in academic research and conferences focused on antimicrobial resistance is a positive sign that new approaches can and will be found, despite the issues with the pharma marketplace and the ongoing hunger for antibiotics in agriculture and medicine.

But we remain a long way from winning what the Science Museum describes succinctly as the “fight for our lives”. Hopefully this polished, fact-packed exhibition will call many more to arms — from the lay visitor to the family doctor, local farmer and political representative.

Andrew Jermy is chief editor at Nature Microbiology. He tweets at @jermynation.

Superbugs: The Fight for Our Lives is free, and at the Science Museum until spring 2019.

 

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

Women in Medicine: opening the clinic door

Posted on behalf of Heidi Ledford

Flic Gabbay, xxx, next to a bust of xxx.

Flic Gabbay, co-founder of the Society for Pharmaceutical Medicine, next to a bust of Cicely Saunders, founder of the hospice movement.{credit}John Chase (c) Royal College of Physicians{/credit}

Visitors stepping into the Royal College of Physicians (RCP) in London are normally greeted by the sombre stares of imposing men, in portraits lining the walls. From today, women outshine them, in 26 photographic portraits of modern female clinicians ranged along the central stairwell. Each holds an image of a historical figure who inspired them.

The exhibition, Women in Medicine: A Celebration, comes as the RCP — which accredits UK physicians and represents over 30,000 doctors globally — readies for its 500th birthday in 2018. Over that time, it has had just three female presidents: unsurprising, given that women could not join until 1909.

The contemporary clinicians in the portraits are esteemed in their own right, and there is still plenty of trail left for them to blaze. But it is the historical photos that drew my eye.

Fiona Caldicott, xxx, holding a photograph of xxx.

Fiona Caldicott, a past president of the Royal Society of Psychiatrists, holding a photograph of pioneering psychiatrist Helen Boyle.{credit}(c) Oxford University Hospitals NHS Foundation Trust {/credit}

Recent years have brought a welcome spate of books, movies and exhibitions dedicated to honouring pioneering women in science. The best of these, like the book and film Hidden Figures, draw attention to forgotten achievements and struggles, and reveal a history that had, shockingly, gone untold. More often, such collections tend to sample from the same pantheon. And although Marie Curie and Rosalyn Franklin deserve their fame, I’m often left with the feeling that we are overlooking important contributions from others.

The RCP show steps outside this elite circle. Here is Helen Boyle, one of the first women psychiatrists in Britain, who led the charge for early diagnosis and treatment of mental disorders near the end of the nineteenth century. Holding her photo is Fiona Caldicott, a past president of the Royal College of Psychiatrists, and perhaps best known for her work on the 1997 Caldicott Report, a guidance document about protecting confidential patient information.

Jane Dacre, xxx

Jane Dacre, Royal College of Physicians president, with a photograph of pioneering hepatologist Sheila Sherlock.{credit}John Chase (c) Royal College of Physicians{/credit}

Jane Dacre, the current president of the RCP, selected physician Sheila Sherlock, who founded hepatology, the study of the liver. According to an online biography connected to the exhibition, Sherlock said that she opted to study that organ because “no one else was doing it”.

All these women racked up notable achievements — and overcame tremendous obstacles to do so. But too many of the write-ups on the accompanying website read like CVs: it is sometimes difficult to glimpse the person behind the achievements, no doubt due to limited space and historical records. Still, there is plenty to whet the appetite. For example, I’m eager to learn more about the friendship with a dying man that led Cicely Saunders to found the modern hospice movement.

Asha Kasliwal, xxx, holds portrait of xxx in the Women in Medicine exhibition at the xxx.

Asha Kasliwal, president of the Faculty of Sexual and Reproductive Healthcare, with a photograph of Anandibai Gopal Joshi, one of the first women in India to study Western medicine.{credit}(c) FSRH{/credit}

Happily, the exhibition’s brief biography is enough to reveal why Anandibai Gopal Joshi — among the first Indian women to practice Western medicine — chose to enter medicine. Married at age 9 and a mother at 14, Joshi’s child died ten days after he was born due to inadequate medical care. “My soul is moved to help the many who cannot help themselves,” Joshi wrote in her application to the Women’s Medical College of Pennsylvania. (Her photograph is held by Asha Kasliwal, who trained in Mumbai and is now president of the Faculty of Sexual and Reproductive Healthcare.)

For perspective, a trip downstairs to the Treasures Room, featuring medical tools from past centuries, is fascinating. Among them is a ‘modesty doll’. In a time when clinicians were all men, women would point to areas on the doll corresponding to the body part in question to describe their symptoms.

In a nearby display case hangs the ornate formal robe, heavy with real gold thread, of the RCP’s president, next to a photo of Dacre wearing it. The robe cannot be shortened, and positioning it on Dacre’s petite frame took some doing. Yet you’d never know it: it fits her perfectly.

Heidi Ledford is a reporter for Nature in London. She tweets at @heidiledford.

Women in Medicine runs at the Royal College of Physicians until 19 January 2018.

 

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

Graphic window on a refugee scientist

3Q: Erik Nelson Rodriguez

Mueck 1

{credit}Erik Nelson Rodriguez/NPR{/credit}

Graphic artist Erik Nelson Rodriguez is an innovative comics journalist. With reporter Darryl Holliday, he began creating nonfiction stories in graphic-novel form at university, covering issues such as gun violence. In 2016, US National Public Radio (NPR) invited Rodriguez to collaborate on an account of Syrian refugee Nedal Said: a trained microbiologist and teacher, Said fled the war in 2013 and is now a researcher in Leipzig. The result, The Scientist Who Escaped Aleppois part of NPR’s special series on refugee scientists: a testament to the ordeals endured, and the extraordinary potential offered, by the refugee community.

What did you learn from working on this project?

I did not know much about the refugee crisis other than data I had researched for news graphics — statistics on people moving through the Mediterranean into Europe. Just seeing the astounding numbers trying to get away from war zones and how many did not make it past the sea affected me. But it wasn’t until I worked with NPR on Nedal Said’s story that I felt the full weight. To look, under a microscope, at the ordeal an individual has to go through to obtain a better life was a heavy lesson. I was shocked by the number of hurdles Nedal faced, whether escaping from detention or sleeping in parks in the frozen rain — and by how long he was away from his family as he travelled to find a new life for them. I also learned that there are programmes to help refugees trained in science. One is the Philipp Schwartz Initiative, a collective effort by Germany’s foreign office and other institutions named in honour of a Jewish scientist who fled Germany in 1933. I was pleased to find countries creating these opportunities for refugees to integrate after their harrowing journeys — especially when refugees are so happy to give back to that society.

Syrian microbiologist and teacher Nedal Said pictured before he fled the war in 2013.

Syrian microbiologist and teacher Nedal Said pictured before he fled the war in 2013.{credit}Erik Nelson Rodriguez/NPR{/credit}

How did you convey Said’s story visually?

NPR provided a timeline of Said’s travels from Turkey to the Balkans to Germany. It gave details about each location, along with interviews describing first-hand experiences. This formed the basis for the storyboard. It was important to me to show Nedal in his work and family life. He was described as always helping others through his scientific knowledge and skills as an educator, so we wanted to display him in those situations. We made sure that his family was highlighted: he was potentially sacrificing his life for them. I researched Aleppo during different periods to see what kind of destruction took place, and created panels featuring tanks, rifles, bullet-ravaged buildings. We re-edited the piece later to help things flow in a vertical comic strip. Aesthetically, I aimed to translate the grittiness and bleakness of the written material. I tried to convey the fear and dread of Said through his facial expressions. I used dark, somewhat sketchy lines to match the story’s tone, but kept a cartoonish quality as a subtle undertone. Working with the editors and researchers was really rewarding.

Said's ordeals as a refugee were legion.

Said’s ordeals as a refugee were legion.{credit}Erik Nelson Rodriguez/NPR{/credit}

How can this kind of storytelling help refugees?

Seeing one individual’s journey to escape war and possible death will, I believe, help the public understand that these are just other people in very different circumstances. Having these stories told in detail with audio and visual representations will hopefully shed more light on how refugees struggle to escape the dark reality of their cities’ destruction. In particular, I hope that the public will understand better that without resources, people escaping war-torn countries do not have the opportunity to develop research, knowledge or a decent life, even if they are well educated. Yet the scientific community could gain from the experience and education of people such as Said, as they can provide original ideas developed thousands of miles away, adding fresh perspectives or processes. I hope visual storytelling can highlight these and other invisible parts of the world to show the public on the other side what they cannot see.

Interview by Leonie Mueck, a former senior physics editor at Nature and now division editor at PLOS ONE. She volunteers for the Cambridge Refugee Resettlement Campaign. She tweets at @LeonieMueck. This interview has been edited for length and clarity.

The Scientist Who Escaped Aleppo — on which Rodriguez worked with editors and researchers Meredith Rizzo, Rebecca Davis, Joe Palca, Madeline Sofia and Andrea Kissack — can be seen here in full. You can find information on future projects by Rodriguez and Holliday on their website.

 

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

 

 

The artist as astronaut

Probes is an inventory of space probes, which examines how the aesthetic of such craft has changed over time, as well as how functionality of design intersects with its cultural underpinnings. Mir views space probes as substitutes for human explorers, romantically searching for connection in the Solar System.

Artist Aleksandra Mir views space probes as substitutes for human explorers, romantically searching for connection in the Solar System. Her piece Probes (on floor) — part of her major work Space Tapestry — is an inventory of these craft, examining how their aesthetic has changed over time, as well as how the functionality of design intersects with its cultural underpinnings. {credit}Tate Liverpool{/credit}

 

3Q: Aleksandra Mir

 In 2014, Aleksandra Mir began a journey into the unknown. The London-based artist started talking with scientists and engineers about space — a realm in which she was a complete novice. The result of Mir’s dive into the cosmos is Space Tapestry, a vast wall hanging 3 by 200 metres, hand-drawn — in collaboration with 25 young artists — with fibre-tipped pens on synthetic canvas. Inspired in part by the eleventh-century depiction of Halley’s Comet on the Bayeux Tapestry, the work unfolds like a giant graphic novel to explore the unfathomable distances of space, the quest for extra-terrestrial life, and the impact of space technology on humans – from observing Earth to the politics of space. As the piece goes on show at Tate Liverpool, UK, Mir talks about her quest to get under the skin of science.

Why did you choose this format for Space Tapestry?

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Mir’s work Ring Nebula emerged from conversations with Jayanne English, an astronomer involved in creating Hubble telescope images. To move beyond the “ice-cream” coloured swirls that Mir views as “trashy”, they experimented with capturing the same information in a black-and-white sketch in which the angle of cross-hatching represents different phenomena.{credit}Aleksandra Mir{/credit}

I wanted to create an immersive environment, almost like a stage set. And I wanted to introduce a new aesthetic. Whenever you see a science illustration you get what I call the “sleazy aesthetic”: supposed to convey fact but made to seduce with their slickness, intense colours and airbrushed surfaces. There are other ways of picturing phenomena that can be as realistic. And some phenomena beyond our technologies or perception can also be portrayed poetically. This is where art becomes relevant to science. My original inspiration for the project was the 1066 Bayeux Tapestry. It features a very early portrayal of Halley’s Comet: you have this little group of characters staring out in horror and fascination, and there’s this simple line drawing of the comet. What was interesting to me is that it doesn’t look anything like an actual comet, but conveys a tremendous amount of scientific information – it has a direction, a velocity and luminosity – which makes it valuable for contemporary scientists. So this became the key to my ‘tapestry’: images with validity for the science community, but also treated in a very poetic, freestyle, emotive and personal way.

You’ve explored many issues over your 25-year career. Why space, and why now?

Space has been a strand of my work for a very long time. My family watched the Moon landing in 1969 in Poland (which was then behind the Iron Curtain), and this left a powerful mark on me. My best-known work is First Woman on the Moon, the transformation of a beach in the Netherlands into a lunar surface in 1999, in response to the 30th anniversary of Apollo 11’s feat. The video of this event has been touring for 17 years now. And I recently realised that while the gist of the work is still valid – no woman has yet set foot on the Moon – I needed to catch up on the achievements of today’s space industry. I attended my first space conference in 2014 and was sold on a world that for me was like an alien planet. I had to learn a new language. I spoke to a lot of scientists about their daily lives. And once you start looking at that from my perspective as an artist and anthropologist, a natural philosophy and sort of magic embedded in these practices reveals itself. I was never interested in science fiction. Science has everything of interest to me. I think that the whole scientific project is a romantic project, the chasing for a connection, the yearning for depth, taking on a challenge, risking everything for a passion, the struggle.

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Get on Da Spaze Buz – a detail in Mir’s Space Tapestry: Earth Observation & Human Spaceflight.{credit}Modern Art Oxford{/credit}

What did you learn about scientists and science?

Working on the Space Tapestry project has given me access to some extraordinary scientists, locations and visuals. Among those I interviewed was Jan Woerner, director-general of the European Space Agency. Marek Kukula from the Royal Observatory Greenwich has been one of my main advisors, and molecular astrophysicist Clara-Sousa Silva has been a huge inspiration. I visited high-security sites such as Airbus Defence and Space in Stevenage, UK; and saw the network control centres at Inmarsat and the Satellite Applications Catapult, both depicted in my drawings. I was allowed to ask tons of naïve questions, be critical, playful and absurd at times, which has connected and educated me in a big way. I can now hold a conversation in this realm, and in 2015 I was invited as a speaker at the UK Space Conference myself.

Solar system

The Solar System series, part of Space Tapestry: Faraway Missions, aims to help viewers find more poetic and metaphorical ways to think about distances that are impossible for the human brain to grasp.{credit}Tate Liverpool{/credit}

There is a newfound dialogue with scientists who are reaching the understanding that they also have been working in isolation.  I have also realised that the sophistication of their projects, the enormous budgets and the long timespans can in no way ever be comparable to what I, as one artist, can do. So, if anything, I have gained a greater respect for science. One conversation I’ve had with scientists, though, is that you don’t always have to be heroic and successful to garner respect. To struggle, fail, be tired and dirty is part of our nature and a fundamental part of all human exploration. Artists know how to draw power from it and I think my project both humanizes and makes science more credible.

Mr's piece First Woman on the Moon (video, 1999).

Mir’s piece First Woman on the Moon (video, 1999).{credit}Aleksandra Mir{/credit}

Interview by Elizabeth Gibney, a reporter on physics for Nature based in London. She tweets at @lizziegibney.

This interview has been edited for length and clarity. 

Space Tapestry is on display in two parts: Faraway Missions will be at Tate Liverpool until 15 October; Earth Observation & Human Spaceflight will be on display at Modern Art Oxford until 12 November. An accompanying book forming part of the Space Tapestry project, We Can’t Stop Thinking About the Future, is also available, and includes 16 interviews with space professionals.

 

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

Double Shift: schooling Syria’s child refugees

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Jordanian and Syrian pupils in Al-Arqam school’s double-shift programme declare their ambitions, from doctor and ship’s engineer to teacher, swimmer and professor.{credit}Paula Ellguth, Marjam Fels{/credit}

Imagine this. You’re 12 years old. Half your family has been killed in conflict, and you find yourself in a country where every other word is a mystery. You’re desperate for stability — not least, school enrolment.

This is reality for many of the 8 million children who make up half the world’s refugees. Education is one of the biggest hurdles they face: only half have access to primary schooling. Potentially, they are a lost generation, at risk from abuse, trafficking and criminalisation, disenfranchised in ways and magnitudes unimaginable to many. A country’s loss of intellectual capital is tragic: how much more so, losing the intellectual future its children represent.

Now, a rich multimedia web documentary is revealing how Jordan — a nation hosting 657,000 registered Syrian refugees — is lighting a candle in the murk. Called Double Shift, the video, audio and text showcase the findings of an innovative social-science research project looking at how the “double shift” educational system, in which different groups are taught morning and evening, is working in the country. Already deployed for decades in Jordan and in other nations from Uganda to the United States, the system is being rolled out anew to accommodate children fleeing the war: Lebanon has adopted it, and Jordan, as Double Shift documents, is following suit to serve 160,000 school-aged Syrian refugees.

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The noon switchover from the Jordanian to the Syrian cohort allows few close encounters. A football club and Saturday centre bridge the gap.{credit}Paula Ellguth, Marjam Fels{/credit}

Double Shift is a joint effort by the WZB Berlin Social Science Center and the European Bank for Reconstruction and Development. Its team of social scientists and visual designers used a variety of methods to capture data from Syrian refugee children in a Jordanian school, from “cultural probe” — giving students digital cameras to document their daily lives — to participatory workshops.

The findings reflect the day-to-day complexities child refugees cope with, notes Steffen Huck, director of WZB research unit Economics of Change. “Some showed the traumatic effects of the war in Syria,” he says. A questionnaire given to 88 Jordanian and Syrian students at Al-Arqam school in Sahab, southeast of Amman, is a case in point. It suggests overwhelming positivity about the school, with 90% reporting approval and more than half finding the classroom clean and safe. A subjective assessment hints at different insights.

Each student was supplied with five colours and a pen and asked to draw their classroom. “The Jordanian children used significantly more colours than the Syrian,” Huck said. “They also painted in a larger portion of the sheet of paper.” Huck speculates that these differences could indicate relatively withdrawn psychological states among the Syrian children.

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At Al-Arqam school, the differences in coverage and colour use between the Jordanian children’s drawings (left) and those of the Syrian child refugees were marked.{credit}Paula Ellguth, Marjam Fels{/credit}

Jordan’s public schools are already under strain, with teachers, classrooms, water, cooling and heating all in short supply. Class sizes can number 45. The pressures on both teachers and pupils are clear, and the separate shifts (Jordanian children in the morning, Syrian in the afternoon) risk entrenching difference. Yet as Double Shift documents, Al-Arqam is building bridges through a mixed soccer club and Saturday centre for study and play.

Meanwhile, Huck and colleagues have done the maths on another gain: US$167,552,165.00. That is their figure for the total net benefit to the country’s economy of enrolling 50,000 Syrian child refugees in Jordanian schools. As it happens, a new cohort of that size is poised to enter the educational system, thanks  to international funding and support from agencies such as UNICEF.

“As the Syrian civil war drags on with no end in sight,” Huck says, “Jordan’s efforts do not only set a humanitarian example but become more and more an investment in its own future.”

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A rare meeting during the midday double-shift switchover.{credit}Paula Ellguth, Marjam Fels{/credit}

Double Shift offers a balanced examination of one school and the headteachers, parents and children who make up its community. It pans out, too, to the wider picture, where other factors come into focus.

Sarah Dryden-Peterson, who researches the nexus of education and social stability, has reported on serious issues with Lebanon’s double-shift programme on the non-profit Brookings Institute website. She reveals that Syrian children may be bullied, and that teachers may be exhausted and poorly trained to cope with their pupils’ psychological trauma. But solutions to fast-moving, critical situations often are partial or quasi-experimental.

If a ‘war child’ is to become an engineer, a surgeon, a pilot — as so many of the children interviewed by Double Shift passionately wish — it’s bedrock we need, not sand. As Dryden-Peterson has noted:

The average length of exile for refugees is 17 years. That’s the equivalent of a child’s whole shot at education, from birth to high school graduation… Syrian refugees do not need temporary education programs. They need access to a complete education.

Currently, debates over STEM teaching and anxieties over science in a politically chaotic world proliferate. Yet the fate of this traumatised, uprooted generation seems an afterthought to governments, who increasingly de-prioritize education in aid portfolios. Policymakers and pundits forget, perhaps, that it was refugees in flight from another appalling war who built American science and technology.

 

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

An immortal life: Henrietta Lacks on film

Posted on behalf of Ewen Callaway

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In the HBO film based on Rebecca Skloot’s book of the same name, Oprah Winfrey plays Henrietta Lacks’ daughter Deborah Lacks.

The idea that people should have a say over how their cells are used in research isn’t revolutionary, but it flies in the face of research practices over the past century. That it nearly became law is due in no small part to Rebecca Skloot’s 2010 bestseller The Immortal Life of Henrietta Lacks, the story of the African-American woman living in Baltimore, Maryland, whose fatal tumour – taken by scientists at Johns Hopkins Hospital in 1951 without the knowledge or permission of Lacks or her family — gave rise to the first immortal human cell line, HeLa.

The book fuelled a much-needed conversation about scientists’ moral obligations to research participants and their families. Now a powerful film adaptation of the same name, starring Oprah Winfrey as Lacks’ youngest daughter Deborah, looks set to amplify that.

Skloot’s book covered a lot of ground, and the film’s director George C. Wolfe (best known for directing and producing Broadway hits such as Tony Kushner’s Angels in America) does an admirable job cramming in details about how HeLa cells were established and their ongoing impact on research. But the movie, broadcast on 22 April on premium US television network HBO, largely covers the decade it took for Skloot to report and publish her book. It focuses in particular on her efforts to gain the trust of Lacks’ family and build an emotional bond with Deborah Lacks.

Their relationship can feel overly dramatized, although Wolfe should not be faulted for taking some dramatic licence with Skloot’s book in what is, after all, a dramatisation (she also served as an executive producer). But much of the film rings true. A scene in which Deborah Lacks questions Skloot’s financial motives and grabs her arm is exactly as described in the book.

Deborah Lacks.

Deborah Lacks.{credit}Rebecca Skloot{/credit}

By omitting some key aspects of the book — the science and history of cell culture and large swathes of Lacks’ biography — the film can feel meta. It is, after all, a film based on a book about a journalist trying to write a book. But it should encourage more people to read the story and absorb its powerful message of social injustice institutionalized by science.

US National Institutes of Health (NIH) director Francis Collins and then-deputy Kathy Hudson have noted that Lacks’ story inspired policy changes in the rules that govern research on human subjects (officially known as the Federal Policy for the Protection of Human Subjects, but widely known as the Common Rule). “The people who are participating in research and providing pieces of themselves should be providing permission as well,” Hudson told Nature in 2015, when the government floated a proposal that would have required them to get approval to reuse discarded samples of blood, urine and other specimens for studies beyond those the subject initially agreed to. But the proposal caused consternation among many scientists. They breathed a sigh of relief this year, when the  final version. of the Common Rule largely maintained the status quo. As long as a participant’s name is removed from the sample, scientists needn’t obtain new consent.

Henrietta Lacks.

Henrietta Lacks.{credit}Courtesy of the Lacks family{/credit}

That may seem like a setback in a quest for justice the Lacks family is all too familiar with. But other developments suggest that the Lacks’ story has changed how research participants are treated by scientists.

Currently, a movement for “dynamic consent” — focused on the establishment of a lasting relationship between researchers and study participants — is growing. It was pioneered by professor of health, law and policy Jane Kaye, while elements of it are being used in Australia. Participants or their relatives (in cases where they are no longer alive) are kept up to date on how their samples are used in research, and they can opt out of particular studies or remove their sample entirely.

The Lacks are finally gaining some control over HeLa cells, if not the remuneration many members have in the past and some still seek. In 2013, after researchers funded by the NIH sequenced the HeLa cell genome without the knowledge or consent of the Lacks family, Collins helped broker a deal with the family to limit access to the data. Now, all NIH-funded scientists and others who want the best quality HeLa genome must explain their research to a committee that includes a Lacks family member. It’s enough for a sequel.

Ewen Callaway is a senior reporter for Nature based in London. He tweets at @ewencallaway. 

 

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

Imaging exodus: a thermographic lens on refugees

Incoming: installation view, by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost, at The Curve, Barbican Centre, London.

Incoming: installation view, by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost, at The Curve, Barbican Centre, London.{credit}Photo by Tristan Fewings/Getty images{/credit}

Posted on behalf of Philip Parker

Like war photography, images of the refugee crisis can elicit a disorienting mix of empathy and disbelief. Photographer Nilüfer Demir’s 2015 image of lifeless toddler Alan Kurdi, face down on a Turkish beach, is a case in point. Now film installation Incoming at London’s Barbican, by Irish photographer Richard Mosse, offers an original, unsettling perspective on the crisis.

To escape some of the tropes of documentary photography, Mosse has experimented with non-standard processes such as 16-millimetre infrared film, which colourises in pinks and purples. For Incoming, he used a ‘camera’ classified as a weapon — a military-grade device created by a drone and missile designer that uses thermographic technology to detect people at 30 kilometres. Controlled by the International Traffic in Arms Regulations, it was designed for use in ballistics targeting and surveillance. For the show (which finishes on 23 April, moving to Melbourne, Australia, in the autumn), the images of refugees on journeys from the Middle East to Europe are displayed across a triptych of three 8-metre-wide curving screens. Mosse has repurposed a technology of war for ostensibly humanitarian ends.

Still frame from Incoming, 2015–2016. Three-screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost.

Still frame from Incoming, 2015–2016. Three-screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost.{credit}Courtesy of the artist, Jack Shainman Gallery, New York and carlier|gebauer, Berlin.{/credit}

The device — capable of resolving fine detail in darkness and through fog and smoke — was ideal for capturing subjects in difficult conditions. It uses middle-wavelength infrared, with optics specially created from the rare earth germanium, and sensors made from cadmium telluride to detect heat contours. Mosse and his cinematographer had to devise a rig to carry the 23-kilogram camera, plus steadicam and computer.

They spent two years filming the routes trekked by refugees – from Syria, Iraq and Afghanistan across the Aegean, through North Africa into Europe, and inside camps in Greece and Germany. The 50-minute Incoming captures the gritty realities: a rescue at sea; a lorry lumbering, overloaded with human cargo. But the imaging renders these scenes uncanny. The people are negatives, variations in skin colour evened out and noses and lips whitened; every fold in their clothes is etched, but they are rendered in shades of grey. A man appears to be washing his face in oil (water appears black). A fire in a camp billows like grey liquid. One beautifully composed scene picks out kites being flown in front of a bare mountain range, but as the imaging gives no sense of scale, the black darts resemble a fleet of stealth bombers. Mosse has slowed the footage to less than half its usual 60 frames a second, giving it a balletic aesthetic at odds with the raw subject matter.

Still frame from Incoming, 2015–2016. Three-screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost.

Still frame from Incoming, 2015–2016. Three-screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost.{credit}Courtesy of the artist, Jack Shainman Gallery, New York and carlier|gebauer, Berlin.{/credit}

Mosse often lingers over his subjects — we spend a long time staring at hairs on the arm of a distant policeman. In more intimate scenes, the detail serves to distort. Ultra-closeups of the postmortem of a child who drowned at sea is clinical and disturbingly unemotional, even with the high-pitched wail of a saw carving a bone sample for DNA identification. Each person’s eyes are black apertures, any sense of the individual erased.

Mosse shot almost every scene without his subjects’ knowledge. In a British Journal of Photography article on Incoming, he was quoted as saying that this allowed authenticity and “portraiture of extraordinary tenderness”. In my view, the technology renders real people with real grief and hopes into an anonymous mass – of the other, the migrant, the stateless. For soldiers, this distancing is undoubtedly an advantage; as a viewer, I became alienated.

Richard Mosse in collaboration with Trevor Tweeten and Ben Frost, The Curve, Barbican Centre.

Richard Mosse in collaboration with Trevor Tweeten and Ben Frost,
The Curve, Barbican Centre.{credit}Photo by Tristan Fewings/Getty images{/credit}

The United Nations estimates that over 65 million people are displaced globally, more than at any time since the Second World War. With climate change and political instability ongoing, that figure looks likely to increase. In an accompanying book, Mosse claims that he wished to reconcile the camera’s capacities with the “harsh, disparate, unpredictable and frequently tragic narratives of migration and displacement”. But we know the name of Alan Kurdi, the subject of Demir’s unforgettable photograph; the unnamed, monochrome hordes in Mosse’s film ultimately become abstractions. For all the thermal imaging, Incoming left me cold.

Philip Parker trained as a scientist, worked in publishing and with campaigning organisations. He is currently Stamp Strategy Manager for Royal Mail. He tweets at @parkerpj01.

Incoming is at The Curve Gallery at the Barbican, London, until 23 April, and will travel to Melbourne, Australia, in autumn 2017. It is co-commissioned by the Barbican and the National Gallery of Victoria in Melbourne.

 

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

Fibonacci’s real mathematical legacy

Posted on behalf of Davide Castelvecchi

Statue of Leonardo Pisano (Fibonacci) in Pisa.

Monument of Leonardo Pisano (Fibonacci) by Giovanni Paganucci (1863) in the Camposanto di Pisa.{credit}Hans-Peter Postel, Wikimedia Commons{/credit}

For hundreds of years until the ebb of the Italian Renaissance, one name was synonymous with arithmetic. This was Leonardo — not the polymath from Vinci, but Leonardo Pisano (ca. 1170-1250), now popularly known as Fibonacci.

Yet we know little of Fibonacci’s life beyond the nickname and his Pisan roots: most details come from a 160-word autobiographical sketch written in 1202. He is often assumed to have discovered the so-called ‘Fibonacci sequence’, which starts with zero and 1 and is thereafter the sum of the two previous numbers (so 1, 2, 3, 5 and so on). The sequence shows up with astonishing frequency in natural spiral structures such as shells and plant tendrils.

Fibonacci did not, however, discover the sequence – it was recorded in Sanskrit at least as far back as 200 BC. Nor does the sequence explain anything about artistic beauty via the so-called ‘golden section’, as Keith Devlin reminds us in his new book Finding Fibonacci. The Pisan’s greatest legacy was to help Europe dump the ancient system of Roman numerals and switch to Hindu-Arabic numbers from 1 to 9 and, perhaps most importantly, 0, which Fibonacci called zephirum after the Arabic ṣifr. (Finding Fibonacci repeats some of Devlin’s arguments in his 2011 The Man of Numbers, and indeed is in large part a meta-narrative exploring the making of that earlier book.)

A page of Fibonacci's Liber Abaci from the Biblioteca Nazionale di Firenze showing (in box on right) the Fibonacci sequence with the position in the sequence labeled in Roman numerals and the value in Hindu-Arabic numerals.

A page of Fibonacci’s Liber Abaci from the Biblioteca Nazionale di Firenze showing (in box on right) the Fibonacci sequence with the position in the sequence labeled in Roman numerals and the value in Hindu-Arabic numerals.{credit}National Library of Florence, Wikimedia Commons.{/credit}

During Fibonacci’s lifetime, much of Italy was part of the Holy Roman Empire, yet many Italian cities were in practice independent city-states. Pisa, Genoa, Amalfi and Venice had been gaining prominence as maritime powers, establishing trade routes across the Mediterranean. As commerce boomed, Italian merchants needed to keep track of finances efficiently. Roman numerals made multiplication and division extremely cumbersome (try dividing MXCI by LIII); they were no match for the 10-digit positional system invented by the Hindus some time before 700 AD and common in the Arab world. And compared to using, say, an abacus, calculations in Hindu-Arabic numbers also allowed an “audit trail”, as Devlin points out: “An individual sitting in Pisa controlling a network of traders needed to be able to review the financial books on a regular basis.”

To fill that need, in 1202 Fibonacci (the son of a notary working for Pisan traders) published Liber Abaci, a compendium of Hindu-Arabic arithmetic and its practical applications to trade. The 600-page book introduces the numerals and explains how to use them for basic calculations. Like every good maths textbook, it also features many practical problems, such as how to convert currencies (Italy alone had 28 at the time, Devlin notes), or puzzles such as this:

It is proposed that 7 rolls of pepper are worth 4 bezants and 9
pounds of saffron are worth 11 bezants, and it is sought how
much saffron will be had for 23 rolls of pepper.

Such problems may seem trivial to someone trained in modern elementary-school algebra, but the symbolic notation for equations with x’s and y’s had not yet been invented at the time, so all solutions had to be spelled out in words. As mathematician John Hannah wrote in his 2011 review of The Man of Numbers,“It is awe-inspiring to see how far medieval mathematicians could progress using such primitive tools.”

Liber Abaci was published in Latin, as was the norm for learned texts. But soon, ‘popular arithmetic’ books in local vernacular, many citing Fibonacci as their source, began to appear. These ‘abacus books’ became standard in schools; at least 600 were written over the next few centuries. Through these texts Italy, and later Europe, learned to do maths.

In Finding Fibonacci Devlin tells us (22 times) that Liber Abaci “changed the world”, comparing the medieval mathematician to tech giant Steve Jobs. He even contends that the book made Western science and technology possible. But although Liber Abaci seems to predate the vernacular abacus books, did it actually inspire them?

Devlin points out that Fibonacci had also written a shorter, simpler abacus book in the vernacular, intended for merchants. That is now generally considered to be lost. If this book could be found, he argues, it might turn out to be the “missing link” between Liber Abaci and the spread of popularized arithmetic texts that came later.

Medieval whodunit

In 2003, historian of mathematics Raffaella Franci discovered such a vernacular text, Livero de l’abbecho, from the late 1200s. Devlin centres both his books on the assertion that Franci concluded that this text was a copy of Fibonacci’s lost book; Devlin avers that it is a “slavish” copy.  He states that thanks to Franci and subsequent studies by other researchers, “we can now say with historical certainty” that Livero de l’abbecho is indeed Fibonacci’s missing link.

But is this as certain as Devlin claims? Franci wrote to me: “I do not believe and I have never claimed that Livero de l’abbecho should be attributed to Leonardo Pisano.” She found evidence that Livero de l’abbecho was based on Fibonacci’s lost book — not that it was a word-for-word copy. Another historian of mathematics, Elisabetta Ulivi, adds that Livero cannot be an exact copy as it’s written in an Umbrian dialect, not Fibonacci’s Tuscan. And historian Jens Høyrup even disputes the importance of Livero and Fibonacci to the importation of Hindu-Arabic arithmetic.

Devlin emailed me that Livero “can be taken to be a fairly close copy” (in Finding Fibonacci he describes it as “a medieval equivalent of a photocopy”) of Leonardo’s lost book. “My duty as a writer of history is not to list the ‘facts’,” he added. “It is to present the best account I can.” Devlin did not respond to follow-up questions about why, in both his books, he describes his attribution of Livero to Fibonacci as “Franci’s conclusion”.

Still, Finding Fibonacci showcases Devlin’s writerly flair. My favourite passages are the incredible story of how Liber Abaci (or at least, the edition he wrote in 1228, the sole surviving one) became available in English for the first time – to this day the only modern-language translation. Mathematician Laurence Sigler had made it his mission to translate the book, rushing to complete the task right before he died of lymphocytic leukemia in 1997. But his editor moved on, and the manuscript languished on floppy disks for years. For a while Sigler’s widow Judith Sigler Fell, fearing the project would be killed, took the extraordinary step of impersonating her husband in communiqués.

By the time Fell found a new publisher, Springer Verlag (now part of the same publisher as Nature), floppy disks had been superseded and she had to hire a hacker to extract the files. Fell then discovered that Springer only accepted submissions in TEX format, the technical standard for physics and mathematics texts. She learned it and spent six months retyping the text. Fibonacci’s Liber Abaci was finally published in 2002 — the 800th anniversary of the book’s first appearance.

Davide Castelvecchi is senior physical sciences reporter at Nature. He tweets at @dcastelvecchi.

 

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