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Get Out Your Monocle! Exploring the Past in the Public Domain

Switzerland, by Sir Frank Fox. 

Originally published by Adam and Charles Black in 1914. Published by Project Gutenberg for Kindle and in other file types. Free.

Reviewed by Veronique Greenwood

If you limit yourself to reading just the ebooks available for free on the internet, as I have been doing lately, you wind up inhabiting the world prior to 1923. American copyright laws are complicated, but books published before that magical year, 90 years prior to this one, are in the public domain. It's about as close to time travel as you can reasonably get.

To really immerse yourself in the era, you can read the travelogues of Sir Frank Fox, a kind of early-twentieth century Bill Bryson. An Australian journalist who spent much of his life reporting for newspapers in London, he wrote books about the natural history, geography, and ethnography of various lands, and there are five of them—on Australia, Bulgaria, England, the Balkan Peninsula, and Switzerland—available at Project Gutenberg for free. For this review, I read Switzerland, published in 1914.

As a rule, one of the risks of inhabiting this pre-1923 world is drowning in a sea of unnecessary words. Today the fashion is to write with extreme clarity, projecting each scene into the reader's mind as if he or she were watching a movie, and to snip out all excess verbiage. Not a hundred years ago—reading Fox is a bit like codebreaking, with sentences that sometimes encompass eleven or twelve clauses and words that aren't used much anymore, like “waggish” and “beneficient.” His very first chapter includes a hilariously lengthy Socratic dialogue rebutting the idea that mountain people are more virtuous and vigorous than lowlanders, owing to some magical quality of the mountain air—not the introduction that a modern writer would use, but curiously charming nevertheless, once you adjust your ear to his style.

It's worth noting, too, that this pre-1923 world as represented by its literature is a pretty Anglocentric one. Fox's readers were British subjects, or former British subjects, so perhaps it's no surprise that he is eager to caricature “the Swiss race” and make his own sweeping generalizations about why they are the way they are, while simultaneously tearing down other sentimental depictions. And the chapter on Swiss prehistory is threaded with regular assertions that human society is on an ever-upward trend, with pathetic (yet noble) nomads at the bottom and the 1914 European at the crest.

But it's an interesting experience, revisiting the literary fashions and the inherited wisdom of a time not so long ago. To the modern reader interested in geography and ethnography, and not afraid to put on a monocle and go along for the ride, Switzerland is fun reading. The prehistory chapter includes a great summary of what was known about the villages-on-stilts that fringed many Swiss lakes in Celtic times. The chapter on local writers includes an anecdote about the time Byron, visiting the fashionable salons along Lake Geneva, attempted to scandalize polite society as he had in Britain, and failed. Apparently the Swiss found him tedious. And the chapter on the Alps, along with a compact treatise on the formation and decay of mountains, includes this note:

“M. Charles Rabot [a geographer and mountaineer] asserts that the glaciers in Argentina are also retreating, and surmises, from data perhaps not so well established, that there has been a general retreat of glaciers during the last half of the nineteenth century throughout Spitzenbergen, Iceland, Cetnral Asia, and Alaska. He suggests that the cause is a present tendency towards equalisation of the earth's temperature. Others more boldly affirm that the Swiss glaciers, as well as other great ice masses existing on the globe, are remnants of the last Ice Age, and are all doomed to disappear as the cycle works round for the full heat of the next Warm Age. But the disappearance, if it is to come, will not come quickly, and the doom of ice-climbing in Switzerland is too remote a threat to disturb the Alpinist.”

That passage falls with quite a different meaning on our ears today, and one of the great pleasures of reading Fox is looking for these harmonies and dissonances, the moments that reveal how much has stayed the same and how much has changed. If that sounds like fun to you, then there's a cache of free ebooks waiting for you on Fox's Gutenberg author page.

Happy time-traveling.

 

 

Veronique Greenwood is a former staff writer at DISCOVER Magazine. She writes about everything from caffeine chemistry to cold cures to Jelly Belly flavors, and her work has appeared in Scientific American, TIME.com, TheAtlantic.com, and others. Follow her on Twitter here.

 

Snowfallization

Review of "Sea Change," by Steve Ringman and Craig Welch, Seattle Times. Web site.

Review of "The Course of Their Lives," by Mark Johnson and Rick Wood, Milwaukee Journal-Sentinel. Web site.

Last year on Download the Universe, Veronique Greenwood wrote a review of a story about an avalanche. Journalists write about avalanches fairly regularly, but this piece, called "Snowfall" was different. It was a one-man-band of text, video, maps, and unfolding photos. The story attracted millions of readers and earned scads of awards, including a Pulitzer. And it has ushered in an era of big, ambitious online packages of newspaper reporting. Not surprisingly, science offers some of the best stories for the Snowfall approach.

One recent example is "Sea Change," published last month by the Seattle Times. Photographer Steve Ringman and reporter Craig Welch tackled the immense but little-known disaster that is ocean acidification. The carbon dioxide we pump into the atmosphere doesn't just warm the atmosphere. It also lowers the pH of sea water, making the chemistry of the ocean dangerous for some species. Oyster companies are already feeling the effects of the dropping pH, and if we continue to acidify the oceans at our current rate, the ecological effects could be tremendous.

Here's a nine-minute video from the project:

The package Ringman and Welch have created has three main text stories. It starts with an overview of acidification research, which is followed by two close-ups on fisheries that are being affected--namely, oysters and crabs. (Both are economically important to the Seattle Times's local readers.) Welch reports the stories in the classic mode of environmental journalism, mixing together in-person reporting in far-flung locations with explanations of the research that revealed the scale of the problem. The photos are impressive, the videos are well made, and the visualizations--which try to convey how big the phenomenon of ocean acidification is--are fairly successful.

If you've already read "Snowfall," the presentation of "Sea Change" doesn't feel like a bolt out of the blue. But that just shows how much our expectations have shifted. Just look back seven years to a similar series called "Altered Oceans" from the Los Angeles Times, to see what I mean. The authors, Kenneth Weiss and Usha Lee McFarling, won a Pulitzer for their efforts, which were even more ambitious than "Sea Change." Rather than focus on one way we're ravaging the oceans, they set out to create a picture of all of them, from pollution to climate change.

Although it came out in 2006, the "Altered Oceans" package of stories holds up well today. But the packaging is showing its age. The fancy front page takes you to five stories that are nothing but text. There are also animations and photos, but they're squirreled away in slow-loading pages. After looking at one of these pages, I discovered there was no way to find my way back to the front page again. Seven years of programming advances made "Snowfall" possible--and now raise our expectations for such ambitious online pieces. (Welch recently discussed the making of "Sea Change" with the Columbia Journalism Review.)

From the mountaintops of "Avalanche" and the open oceans of "Sea Change," we take a claustrophobic trip indoors with "The Course of Their Lives." It's a four-part series from the Milwaukee Journal-Sentinel about medical students dissecting the cadavers of people who donated their bodies to science. There's no news here, no warning of an impending disaster. Instead, reporter Mark Johnson and photographer Rick Wood faithfully follow students through a remarkable experience--getting to take apart another human being, down to the brain and guts. Wood and Johnson both bring an emotional sensitivity to the project that makes reading it a deeply moving, human experience.

While I would heartily recommend "The Course of Their Lives," I would also point out some shortcomings. I don't want to belittle the piece by talking about them; they're worth talking about as a way to ponder the kinds of decisions that newspapers make when they create Snowfall-esque stories about science.

Some of the bells and whistles attached to "The Course of Their Lives" don't add much. The videos are mostly of talking heads, who sometimes speak stiltedly. Distilling people's words down in compelling written prose remains a superior technology to a video camera that's simply switched on.

I was also underwhelmed by the interactive anatomical diagrams that went along with the stories. They're meant to illustrate the lessons that the students learned about the cadavers, organ by organ. But who actually needs to see lungs light up on a diagram of a body to know what lungs are? The powers of visualization, both online and in apps, are spectacular. (My favorite anatomical example remains this ebook about Leonardo Da Vinci's anatomical sketchbooks.) But there's no point in using those powers simply to check off a box in a to-do list. It's another lesson that we should respect the technology of prose.

Ironically, the prose itself in "The Course of Their Lives" also felt a bit antiquated. American newspaper journalism long ago settled on a certain style. The paragraphs became short, and the sentences shorter. The words needed to be plain and serviceable. There were perfectly good reasons for this approach--but a lot of them had to do with the physical properties of printed newspapers. Stories couldn't be made of densely packed paragraphs, for example, because editors would need the freedom to cut off sections of stories at the last minute to make them fit their available space.

These were good reasons, but they had some odd consequences. Along with their standard fare of short news pieces, newspapers would also prepare a few massive, long-form pieces--Pulitzer-bait, essentially--but these pieces often retained the staccato structure of short news stories. In these sprawling pieces, that style read strangely. And once New Journalism's masters like Tom Wolfe and Gay Talese turned magazine features into a new art form, the adherence to the old style in newspapers became even more peculiar.

Today, as newspapers and magazines shift online, that style has grown even more out of date. If you read stories from publications that got their start online, such as the Atavist, you never find the staccato style of old newspaper stories. There's no need to adhere to it.

Thus "Sea Change" and "The Course of Our Lives" serve as illustrations of journalism in transition--created by people trying to figure out how to bring the best of the old world of newspapers and leave the rest behind.

 

(Photos: Top-Steve Ringman, Bottom-Rick Wood)

Carl Zimmer writes the "Matter" column  for the New York Times and is the author of 13 books, including Evolution: Making Sense of Life.

 

Word Rising: In Long-Form Journalism, How Long Is Too Long?

Uprising, by Phil McKenna. Published by Matter, $.99. Visit Matter for details about formats, purchasing, and membership.

Review by Virginia Hughes

In his State of the Union address last month, President Obama made several nods to climate change. To reduce America’s dependence on oil — and the carbon emissions that come from burning it — he pushed for a bigger investment in clean sources of energy, like wind, solar and natural gas. “The natural gas boom has led to cleaner power and greater energy independence,” Obama said. “We need to encourage that.”

Thanks to advances in a technique called hydraulic fracturing, or fracking, natural gas production in the U.S. grew by 8 percent in 2011, the sixth consecutive year of growth, leading the International Energy Agency to call this “a golden age of gas.” When burned, natural gas emits half as much carbon dioxide as coal does. The Obama administration and some prominent scientists — including Obama’s pick for new energy secretary — say natural gas could be used as a “bridge fuel,” curbing our coal consumption until greener alternatives are ready for primetime.

But what if natural gas isn’t so clean?

That’s the question artfully raised in Uprising, the fourth installment from Matter, an online platform for long-form science journalism. Uprising, like Matter’s earlier stories, presents an engaging narrative with juicy characters doing surprising science at a length of around 6,000 words. Unlike the other Matter stories, though, I’m not sure this one needed more than the 3,000 words of a typical magazine feature.

In Uprising, journalist Phil McKenna tells the story of two unlikely collaborators — Bob Ackley, a big-car-loving libertarian with decades of experience as a gas company technician, and Nathan Phillips, a liberal tree-hugging professor — and their wacky adventures cruising the streets of Boston to map natural gas leaks.

When methane, the primary ingredient of natural gas, leaks into the atmosphere (rather than being burned) it’s a much more powerful greenhouse gas than carbon dioxide. But nobody knows exactly how much gas is leaking. That’s where Ackley and Phillips come in.

Uprising tells why Ackley and Phillips started to work together, and what they’ve discovered so far: In a paper published last month in Environmental Pollution, they reported finding 3,356 leaks in Boston, including six where gas levels were high enough to cause an explosion. Their study included a city map tracking the leaks, which Matter recreated as a striking black-and-white grid with swashes of red and yellow to indicate the leaks. (And although the study is behind a pay wall, Matter made it somewhat open-access by linking to a Google Doc of the study’s full data set.)

The problem, for me, is that it’s unclear how (or whether) this single study contributes to the greater international debate about natural gas and climate that McKenna did such a great job setting up. The study focused on the number of leaks, rather than their volume, so it can’t say anything definitive about whether natural gas really is worse for the climate than coal.

It’s not that these investigations don’t matter: We learn that Ackley and others are finding similarly frightening numbers of leaks in other cities, such as Manhattan and Washington, D.C., and that some of this data is driving a major lawsuit against a utility company. It’s entirely plausible that these leaks will put a crimp on the natural gas boom. But the story doesn’t say much about how the wider energy community has reacted to this data. It didn’t include any skeptical voices, or any comments from scientists or policy makers who still believe in natural gas as a bridge fuel.

I was expecting the story to answer the initial question posed: What if natural gas isn’t so clean? And when I didn’t get that answer, I was disappointed, in a way that I might not have been had the story been shorter. The view, for me, wasn’t quite worth the climb.

 

Virginia Hughes is a science writer based in Brooklyn. Her work has appeared in Nature, Popular Science, and Slate, and her blog Only Human is part of National Geographic magazine’s Phenomena. Follow her on Twitter.

Snow Fall: A Gorgeous Ebook Comes to Life on the Web

Snow Fall: The Avalanche at Tunnel Creek. By John Branch. The New York Times and Byliner.

Reviewed by Veronique Greenwood

On Wednesday night, a mysterious new article appeared on the New York Times site. News of it began to leak out via Twitter, and people who headed over to read the first chapter of Snow Fall: The Avalanche at Tunnel Creek, an account of a backcountry ski run turned deadly, found a piece not only grippingly reported but physically gorgeous, laced with soaring animations of the mountain, a looping GIF of the wind over the snow, and haunting audio and video captured by the survivors. Here's a sample of the reaction, from Atlantic correspondent Yoni Applebaum:

That @johnbranchnyt feature on Tunnel Creek? If this is the future of journalism, it looks beautiful: nyti.ms/UGCPpU

— Yoni Appelbaum (@YAppelbaum) December 20, 2012

 

By Thursday morning, the rest of the story--five further sections in all--had been posted, and we'd learned that Snow Fall, a groundbreaking example of journalism enhanced by the web, would appear without multimedia features in the Sunday edition of the NYTimes and be the first ebook released through a new collaboration between the New York Times and Byliner.

I've read the story and examined both the Web and ebook versions, and I'm here to tell you: buy the ebook if you'd like to carry the text around with you, but please, please do yourself the favor of reading it online.

The story starts on the back side of Cowboy Mountain in Washington. Two days' powder lie thick over the landscape, and professional skier Elyse Saugstad and a group of 15 other ski industry professionals and local experts have just joyfully begun the descent of an out-of-bounds run named Tunnel Creek. Standing in a copse of old-growth trees, Saugstad looks uphill and sees something that should not be there: a two-story-high wall of snow. Seconds later, she and an unknown number of others are buried in a river of ice that, if it had not already crushed them to death, would suffocate them within minutes.

These skiers and boarders weren't noobies. Over and over again, you hear, in the survivors' own voices in the embedded videos, that this was a dream team of backcountry skiers with decades and decades of experience between them. They would have known if it had been unsafe to go. But in meticulous reporting John Branch gently teases out the new technologies that have given out-of-bounds skiers enough of a boost in confidence that avalanche deaths have leapt in recent years, along with the cultural effects—the politesse, the bravado of even smart skiers—that clicked together like the parts of a deadly machine in Tunnel Creek.

The comparison that immediately comes to mind is with Young Men and Fire, the last book written by Norman Maclean. Maclean's 1992 masterpiece is a reconstruction of the Mann Gulch Fire, a disastrous 1949 blowup in Montana that consumed 12 smokejumpers, the elite fire-fighting parachutists of the Forest Service, in less than 10 minutes. As I watched the animations laying out the tracks each skier took, and watched the helmet cam videos of Saugstad and others taken just before, and after, the mountain fell, I thought, “This is what Young Men and Fire would have looked like, had the smokejumpers had video on their helmets.”

If the Byliner version, which has only text and a few photos, were the only version, I'd be crowing over it. But having seen the beauty and skillfulness of the web version, I have to wonder why the New York Times did not release Snow Fall through The Atavist, which has made it their business to tell multimedia stories in ebook form. Perhaps there's a business question in play here. After all, the Atavist offers stripped-down Kindle versions of their stories, which sometimes climb up Amazon's best-seller charts. For now, there may just not be enough demand for elaborate programming for these long-form features. And since the Times has already built Snow Fall an online home--and, as of Friday morning, sold most of the advertising slots in it to Sotheby's--they may see the ebook simply as a way to skim a little more cream off what they've already done, without investing too much more work.

That's a bit of a pity. But at least we'll always have the Web.

 

Veronique Greenwood is a staff writer at DISCOVER Magazine. She writes about everything from caffeine chemistry to cold cures to Jelly Belly flavors, and her work has appeared in Scientific American, TIME.com, TheAtlantic.com, and others. Follow her on Twitter here.

Evolving Fish, A Dying Sea, And A New Genre: Digital Comics Science Journalism

Symbolia. First issue free. Subsequent individual issues $1.99. Annual subscription $11.99. Available as an iPad app or pdf; other devices to come. See web site for details. 

Comics first gained respectability as art, then as storytelling, and more recently as comics journalism. Joe Sacco's celebrated Safe Area Goradze, for example, showed how comics journalism could deliver powerful portrait of life during wartime. Published in 2001, Safe Area Goradze was the product of a pre-ebook age, the sort of printed work that you might buy as a deluxe hardbound edition and display on a shelf. A decade later, comics journalists are increasingly giving up paper and going digital.

A new example of this new genre is Symbolia, a magazine that released its first issue this week. It's been generating a good deal of buzz, with write-ups in venues like the Columbia Journalism Review, Poynter, and Publisher's Weekly. I decided to check it out and discovered a creation that was fit for reviewing at Download the Universe. That's because three out of the five stories in the first edition are about science.

A Journey to the Island of Tree Kangaroos

The Island of Secrets, by Matthew Power. Published by the Atavist. $1.99 - $2.99. iPad and iPhone version available through the Atavist app. Kindle, Nook.  More information available from The Atavist.

Guest reviewed by Oliver Hulland

Matthew Power is the kind of writer everyone dreams of becoming. In the vein of John McPhee and Paul Theroux, Power writes about exotic far-away places, not from second-hand accounts but instead from personal experience. The cuts, bruises, insect bites, and close encounters he records are just as likely to be his own as the adventurers he profiles. 

The Island of Secrets is Power's most recent attempt to understand the indomitable urge to explore. We find ourselves thrust into the world of John Lane, a California scientist who looks for fossils in caves and who had accidentally discovered a new species of tree kangaroo on the side of the road while on an expedition in New Britain, an island off the coast of New Guinea. Upon learning of its novelty he later returned for the specimen only to find that it had, to his dismay, been eaten. And so Lane, with Power in tow, mounted another expedition to rediscover the kangaroo he believes holds the key to preserving what's left of the island's vanishing forests. 

The Island of Secrets reads like a twenty-first-century explorer's diary, rich with multimedia content documenting an expedition deep into New Britain's jungles. Inline links pop open locations on maps, historical factoids, or images from Power's trip. The intimate photos provide a glimpse into the day-to-day life of the haphazard expedition, including shots of an impromptu shoddily-made raft, the science team's dilapidated jungle base camp, and the odd detail like a local's "Calvin Klain" underwear.

While the quality of the photographs are nothing like those found in glossy magazines, they serve as evidence of the journalistic process, and of the realities of Power's research in New Britain. Even better than the photographs, though, are the small video clips that are peppered throughout the text. One clip records a slapdash attempt to sew shut a careless machete wound, while another shows the slow, laborious process of hacking through the dense Tanglefoot fern underbrush. These short clips are the antithesis of slick BBC nature documentaries, and as a result they succeed in providing gritty, blurry proof of the day-to-day struggle of science in far-away places.

Along with the text, The Atavist app also includes a superbly produced audiobook version, ready by Power himself. You can also listen to snippets of sounds from the jungle including the whirring of cicadas or samples of the local language, Tok Pisin. Some may find these audio-visual elements distracting or unnecessary (notably the looped chirping crickets that function as a soundtrack), more often than not they work in concert to create one of the richest media experiences available on an iPad or iPhone. 

None of this would work, however, if it weren't for Power's talent in telling the story of John Lane's obsession with finding the tree kangaroo. By building off the foundation of a good story, The Atavist’s adaptation of The Island of Secrets creates a hybrid of narrative nonfiction that succeeds in bringing the journalistic and scientific process to life.

 

Oliver Hulland is the editor of Cool Tools, a site dedicated to finding tools that really work. When not reviewing tools, he can be found foraging for mushrooms, exploring caves, and applying to medical school.

Meandering Mississippi: An early journalism iBook is all wet

Meandering Mississippi, by Mary Delach Leonard & Robert Koenig. Published by The St. Louis Beacon. iPad (requires iBooks 2). $.99 iTunes

Reviewed by Seth Mnookin

A little after 10 pm on May 2, 2011, the Army Corps of Engineers detonated explosives along a two-mile stretch of the Bird's Point levee, just below the confluence of the Ohio and Mississippi Rivers. The goal was to save the city of Cairo, Illinois, which was facing such severe flooding that all but 100 of Cairo's 2,831 residents had already been evacuated. It was a dramatic event; pictures of the explosions, like the one below, have a vaguely apocalyptic feel.  

Since the initial explosions took place at night, reporters sequestered a half-mile away weren't able to see how fast the water from the swollen river was flowing. In all, officials estimated up to three trillion gallons of water -- that's 3,000,000,000,000 gallons -- poured onto the Bird's Point-New Madrid floodway, comprised of approximately 130,000 acres of farmland and 90 homes.

A Time Machine for the Face of Earth

Fragile Earth. Published by HarperCollins. iTunes, $3.95.

Reviewed by Carl Zimmer

Infinity can be cruel. Tablet computers have become so powerful that it's practically impossible to reach the limits of what you can do while creating an ebook. You can embed videos, sprinkle music and voices here and there, let people post a book-inspired thought to Twitter, manipulate a simulated bat, incorporate an encyclopedia of information about chemistry, and on and on. Unfortunately, this virtual infinity of possibilities may leave ebook creators with a virtual infinity of work. Some science ebooks we've reviewed rise to that challenge. They sport a well-integrated collection of features. Other ebooks seem like wild acts of desperation. And others still are acts of wise self-restraint. Yes, you could make a science ebook that does many things poorly. Or you could make a science ebook that does one thing well. One such ebook is Fragile Earth.

Fragile Earth got its start in 2006 as a beautifully disturbing coffee table book published by Collins, filled with satellite images showing how humanity is reworking the planet. "Before" and "after" photographed were paired to show how deforestation, climate change, and other factors have changed the face of Earth. Now Collins has turned it into an app. The Youtube video below gives you a good run-through of its features. The most important one is that instead of putting images side by side, the app does what a book cannot: it lays them on top of each other. You can then use a screen button to slide one picture away to reveal the other one underneath. I'm not quite sure of the visual neuroscience behind this effect, but it works very well. Seeing the same landscape in Alaska covered by glaciers a few decades ago now turned to mostly bare Earth is a sobering experience.

Fragile Earth is not perfect, though. The book and the app alike are presented as a way to see how we're changing the planet. But the app is loaded with other images that show natural changes, such as the devastation caused by the eruption of Mount Saint Helens. Combining these images together makes no thematic sense; the only thing that joins them together is an elegant slider. There's no introduction where you might find an explanation for what a volcano and the deforested Amazon have in common. Instead, Fragile Earth has short caption that describe the specifics of each set of images but leave you wanting more.

That's too bad, because Fragile Earth illustrates on a profoundly important fact about our species. In 2005, Bruce Wilkinson, a University of Michigan geologist, published a paper called, "Humans as geologic agents: A deep-time perspective." [free pdf] "Humans are now an order of magnitude more important at moving sediment than the sum of all other natural processes operating on the surface of the planet," Wilkinson concluded. We're also having other huge effects on the planet--acidifying the oceans faster than at any time in the last 300 million years, for example. Humanity isn't just leaving a mark on the Earth you can see from space. It's a mark that will be preserved in the fossil record for millions of years to come.

Before and after pictures can go a long way to showing the magnitude of that change. But without context, they can also oversimplify it. If you were to select a before and after pair of pictures of glaciers in the Himalayas, for example, you would not see a frightening retreat over the past decade. In fact, you might not see any change at all. Such specific cases are ripe for cherry-picking by global warming denialists. The reason that this one case does not refute global warming because of the overwhelming evidence of changes caused by global warming on a planetary scale--such as the overall loss of ice from the entire Arctic Ocean.

Fragile Earth would thus be a better app if its pictures had more context and a more coherent point. But I'm also glad that its creators didn't try to grasp for infinity.

 

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

Blowing Windmills and Seeing the Future: Al Gore's Our Choice

Our Choice by Al Gore. iPhone or iPad 

Reviewed by Dan Fagin (guest reviewer)

If you’ve heard Al Gore give a speech, watched An Inconvenient Truth or read anything the former vice president has written, you probably know that two of his obsessions are the innovative use of information technology and the visual image of a spinning Earth, as seen from space. So it’s no surprise that both are central to his first true e-book: Our Choice. Created for the iPad and released in the spring of 2011, it’s anything but a cut-and-paste digital version of the 2009 print volume, as Gore’s previous digital efforts have been. This time, the text has been tricked out with all sorts of digital-only features. There are dozens of unfolding photographs, tightly edited videos and startlingly clever interactive graphics. There’s even a page where you can blow into your iPad’s microphone to spin the blades of an on-screen windmill. Really.

The introductory image sets the tone. It is, predictably, a striking view of our planet, spinning serenely, seen from space. Touch it, Gore’s voice instructs, and when I comply the Earth spins quickly in the opposite direction for a few seconds before stopping and resuming its normal rotation. But now the surface has changed. Huge typhoons loom menacingly near Japan, India and Mexico, and a whopper hurricane is bearing down on Florida. Most of Africa (not just the Sahara) is parched brown; so are Italy, Spain and portions of the American Midwest. The familiar solid white of the Greenland ice sheet now includes patches of exposed land. (You can get a rough idea of how it looks, without the movement, by running your mouse over the planet here.)

The Frozen Future of Nonfiction

Why The Net Matters: How the Internet Will Save Civilization. By David Eagleman, Canongate Books, 2010. (For iPad) 

Reviewed by Seth Mnookin 

Unless you landed at Download the Universe with the mistaken impression that it’s a new torrent aggregator, chances are you’re already familiar with David Eagleman, the 40-year-old Baylor College of Medicine neuroscientist/author/futurist. Perhaps you’re one of the millions of people around the world who was dazzled by Sum, Eagleman’s breathtaking, oftentimes brilliant, collection of short stories about the afterlife—or perhaps it was Incognito, Eagleman’s exploration of the unconscious, that caught your eye. (It’s not everyday, after all, that a pop-sci book pulls off the tricky balancing act of simultaneously appealing to the cognoscenti and the hoi polloi.)

Or maybe you haven’t read any of his books. Maybe you heard him on Radiolab, offering his interpretation for why time seems to slow down during moments of heightened awareness or explaining how walking can be understood as the transformation of falling into forward motion. Maybe you first encountered Eagleman in a recent profile, like the NOVA special that aired last February or the 9,000-word New Yorker piece that ran last April or the Houston Magazine spread in which Eagleman, decked out head-to-toe in Versace, was featured as one of 2011’s “Men of Style.” 

If your enthusiasms tend more toward the musical realm, perhaps Eagleman first appeared on your radar when he and Brian Eno performed together st the Sydney Opera House; or, if you’re more a Black Flag than Talking Heads and U2 type of person, maybe it was the time he interviewed Henry Rollins about dreams at the Rubin Museum of Art in New York City.

Or maybe you’re like me, and you can no longer remember when you first became aware of Eagleman and his work--you just know you’re curious about whatever it is he decides to tackle next because it will inevitably be interesting and erudite and thought-provoking and, in all likelihood, fun.