Download The Universe

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.

 

A Year of Downloading the Universe

By Carl Zimmer

It's now been a year since we started exploring science ebooks here at Download the Universe. By the time we got the site off the ground, people had already started producing some digital gems. The first work reviewed at Download the Universe, The Elements, brilliantly dismantled the ingredients of a book and rearranged them to take advantage of the touch-sensitive iPad. In 2011 science writer Laurie Garrett had taken the leap to Kindle in order to write I Heard the Sirens Scream, a harrowing account of how the United States responded to 9/11 and the anthrax attacks.

Yet we were also dismayed to discover find a lot of wasted opportunities. David Dobbs delivered the first unbridled attack on a stinker, a silly pamphlet called Smile that promised that grinning will solve just about anything. Likewise, I reeled at The Demise of Guys, an incoherent ebook by a prominent psychologist convinced that men were lost to porn and online games.

Both of these books were published by TED, based on talks that they had hosted. While there's a lot of good stuff to be watched on TED, there are a fair number of talks that pretend to be based on solid science when, in fact, their foundation is a thin, cracking skin of ice. Smile and The Demise of Guys didn't seem to be carefully vetted by an editor who would push back against poppycock. Both ebooks felt as if they had been simply waved through like cars in a line of traffic. In fairness, we did give positive reviews to some other TED Books--Controlling Cancer, What's Killing Us, Living Architecture to name three. But that unevenness makes us wonder if the quality of ebooks depends on the author and the author alone.

Absentee editing was not unique to TED. Meandering Mississippi was based on a series of newspaper articles--by which I mean they were little more than cut and paste into a new format. An ebook about dinosaurs was little more than a digitized cable documentary. An ebook about the Titanic somehow managed to lack any passion.

It would be a shame if ebooks became nothing more than hastily assembled spin-offs of print books, documentaries, or lectures. Fortunately, as this past year progressed, we had lots of good reasons to keep our hope for ebooks alive. New ebooks turned up that exceeded our expectations, or simply popped up far off the grid, beyond our preconceived map of what ebooks could be. I still enjoy turning the pages of Leonardo's anatomical notebooks, intercalated with insights from modern anatomists. For some of the best ebooks the term "ebook" barely even functioned. Snowfall was a ravishing account of a deadly avalanche hosted by the New York Times web site. Ironically, when it was turned into a more conventional ebook (if ebooks are mature enough now to even be conventional), it became a far less satisfying experience.

This past year also offered hope in the form of new publishing outfits dedicated to ebooks, many of which were about science. They were few in number and small in size, but they typically showed a level of care and creativity that much bigger publishing companies lacked. Symbolia offers comics science journalism. Byliner and Matter produced some excellent pieces of "in-between" science writing--too long for a magazine article, too short for a book.

Top honors go to the Atavist, a Brooklyn publishing house that produced an impressive string of pieces over the past year, on subjects ranging from moon rocks to brain-controlled robots to the mysteries of consciousness to a hunt for tree kangaroos. While readers can buy a stripped-down Kindle version, they can also buy an edition with elegantly incorporated maps, audio recordings, and other features.

Like many other journalists and scientists, we also dipped our collective toe into the ebook waters. David Dobbs joined Download the Universe having already written the best-selling My Mother's Lover. Deborah Blum published an absorbing account of a sensational murder trial called Angel Killer. I helped build an app to accompany a textbook about evolution I co-authored. Seth Mnookin edited a Matter ebook about regenerating organs.

I expect we will delve deeper in the year to come, both as writers and as reviewers. Over the past year, we've published over 80 reviews and essays, and we've got a healthy inventory of titles we're looking forward to writing about in the months to come. The ebook business is continuing to grow, but it's still hard to find out about new science titles. We plan to keep making it a little easier.

 

Carl Zimmer writes frequently about science for the New York Times and is the author of 13 books, including Evolution: Making Sense of Life.

Great Investigations Deserve Great Ebooks

In The Wrong Hands, by Ryan Gabrielson, California Watch/Center for Investigative Reporting. $.99, Kindle Single.

 by Deborah Blum

For well over a year, the investigative reporters at California Watch (part of the non-profit center for Investigative Reporting) have been pursuing a story involving abuse of mentally ill patients in state care -  and of institutional indifference to that abuse.

That investigation, led by Ryan Gabrielson, focused on five state operated centers that house "some of society's most vulnerable citizens - men and women with severe autism, cerebral palsy and other intellectual disabilities living in taxpayer funded institutions." To sum up the results, it found that center residents had been beaten, tortured and raped by staff members. And that a police force, set up to protect resident safety, had apparently helpfully looked the other way.

The stories, first detailed in a series called Broken Shield, are best described as horrifying, a litany that includes the taser burning of a dozen patients, the rape of others, and the death of a quadriplegic patient with cerebral palsy, who died of internal bleeding after three cotton-tipped swabs tore through his esophagus. None of these incidents, as the investigation makes clear, were thoroughly evaluated by the well-paid police force assigned to those centers. In many cases, including the worst ones, no charges were filed.

There's another interesting issue here--the platforms which California Watch used to tell this story--but I'd rather start by considering its importance, its indictment of the way we care for helpless and troubled people, in particular the system in California. And to acknowledge that I'm not alone in this reaction. Everyone from newspaper readers to state officials was appalled. The stories prompted major reorganizations of centers, investigations by outside experts, and new legislation, signed by Gov. Jerry Brown, mandating far stricter law enforcement oversight. This month, the state agreed not to seek Medicare reimbursement for care at the most troubled centers. This is a story that matters, one of the reasons I wanted to bring it up here.

These powerful changes are foremost a result of really powerful reporting. But California Watch also amplified that effect by making sure that its findings were heard across multiple platforms. The stories were placed on its website. They were distributed to newspapers across the state, running in all eight of the state's largest newspapers. They were showcased on radio programs, partly through the center's partnership with KQED. Videos were provided to television stations. California Watch even produced a graphic-novel style video, which illustrated the trauma suffered by patients and their families.

And in December, the Center for Investigative Reporting published the series as a 99-cent Kindle single titled In the Wrong Hands: How a Police Force Failed California's Most Vulnerable Citizens. In one sense, the single is perhaps the least impressive part of this approach. It's a workmanlike summary of the original series rather than a uniquely good e-publication in its own right. The story-telling remains in a basic newspaper format;  there's a puzzling lack of illustration, audio, video or really anything would bring additional life to the telling.

This is less of a problem in a gorgeous narrative or exceptionally fun-to-read story. But this is neither of those things. In the Wrong Hands reads like what it is --a repackaged newspaper series rather than a well-articulated book. It's dense enough and dark enough to occasionally be a challenge to read--exactly the kind of story that benefits from other kinds of media--perhaps even some of California Watch's own novelistic video. I suspect that with a little more time and care, this could have been  a more substantial and more meaningful e-single, one that would have reached  an even wider audience (when I checked on January 21, its Kindle single standing was 364,414).

I respect--and even admire--the California Watch model for distributing news and for solvency in a digital age (briefly outlined here at the Nieman Journalism Lab). But as someone who also has hopes for the e-publishing age that we are growing into, I'd like to argue for setting a high professional standard for e-books, both short and long, one that really moves them beyond old-time print. If we're building a new model of story telling then there's nothing wrong wanting it to be a really good one.

And, after all, a great investigation--which In the Wrong Hands was--deserves a great platform.

Deborah Blum, author of The Poisoner's Handbook, published her first e-single, Angel Killer, last year. She writes for numerous publications, blogs about chemistry at Wired, and teaches journalism at the University of Wisconsin-Madison.

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.

The Serial Ebook: Margaret Atwood's Positron

I'm Starved For You (Positron), by Margaret Atwood.  Published by Byliner. $2.99. Available for Kindle, Nook, iPad, and others.

Reviewed by Veronique Greenwood

There’s something a little bit retro about the scorn heaped, in some quarters, on ebooks: As Download the Universe overlord Carl Zimmer has noted, similar charges of cheapening the reading experience were once leveled against paperback books.

It’s fitting, then, that publishers of ebooks are continuing to rediscover the promises and perils of earlier publishing forms. Serialized novels are one of the latest experiments: In September, Amazon launched its Kindle Serials, and in August, Byliner, known primarily for long-form nonfiction, announced that it would be publishing several new novels, including Positron, by Margaret Atwood, in installments.

Matter: A Look At A New Way To Read About Science

Do No Harm, by Anil Ananthaswamy. Published by Matter, $.99. Visit Matter for details about formats, purchasing, and membership.

Reviewed by Carl Zimmer

Talk about burying the lead.

Yesterday the Washington Post announced that they were hiring a new editor-in-chief. Reporting for the New York Times, Christine Haughney wrote that the Post made the switch because they were struggling with a steep decline in readership. It's not until deep in the piece that Haughney makes a startling statement:

"The paper also faces fresh competition from online news outlets, like Politico, whose founders include former Washington Post reporters."

Politico certainly didn't bring the Washington Post to its current moment of crisis singlehandedly. But it is striking to me that a web operation started from scratch in 2007 could baloon so fast that it could become a major threat to what was once one of the world's leading newspapers.

My attention was drawn to this buried lead because I've recently been getting to know a new player in the science news business, called Matter. This morning they are launching their web site, and their first piece of long-form journalism. It's way too early to predict whether Matter will become the Politico of the science world. But they definitely are entering the arena with impressive style.

A Medieval Bestiary: When a book breaks your heart

 

A Medieval Bestiary. Published by eBook Treasures. iPad. £4.99

Reviewed by Maggie Koerth-Baker

A Medieval Bestiary is just not that into me. 

We should have gone so well together. It was a scanned copy of The Royal Bestiary, a 13th century manuscript stored in the British Library, enhanced for the iPad with text and audio interpretation on every page. I was a giant nerd. Clearly, a match made in heaven. 

But I don't think it's going to work out. 

It's not that the book is terrible. In fact, parts of it are, objectively, pretty damn cool. We are, after all, talking about an opportunity to virtually thumb through the pages of a very old book. And the scans are excellent. You can see stains on the vellum, and the margin lines drawn by the scribe or illustrator to make certain that text and images were put into just the right place on every page. You can zoom in on the beautiful, colored and gilded drawings of bees and eagles, lions and centuars. On every page, there is, indeed, a little tab that you can tap to learn more about the animals you see in the pictures – especially helpful for the book's many imaginary animals, such as the leucrota. Leucrotas, you may be interested to know, happen when a male hyena mates with a female lion. The result of that partnership looks, for some reason, rather like a horse, but with a forked tail and a creepy, Jack Nicholson smile. The Medieval Bestiary assures me that the leucrota's "teeth" are actually a single piece of sharp bone, curved into a U shape. If I tap the "Listen" button, this information will be read to me by a soothing, female, British voice. 

In short, A Medieval Bestiary does everything it promised to do. In fact, I'm sure this book could make somebody very happy. (Maybe an art student?) Just not me. That's because, while it does do everything it promised, A Medieval Bestiary does only that. And not a bit more. I, unfortunately, need the bit more. 

The truth is that some of this is my fault. I read the description and then set my expectations rather higher than I should have. I can't really blame A Medieval Bestiary for being the book it is (and said it was) rather than the book I want to be. And yet. And yet. 

A book like this needs context. I need to know about the genre of bestiaries, in general. Did the authors make up the clearly made-up animals (and the clearly made-up information about real animals)? Or were they writing down longstanding traditions? What was the point of the book? Am I supposed to be studying the natural world, or exploring my own morality? Do books like bestiaries have a role in the development of true taxonomy and biology, the same way that alchemy had a role in the development of chemistry and physics? I have no idea. Because A Medieval Bestiary doesn't tell me. In fact, I had to run a couple Google searches to even figure out the book's real name. This is the full extent of context it offers on itself: 

A bestiary is a book of real and imaginary beasts, though its subjects can extend to plants and even rocks. It combines description of the physical nature and habits of animals with elaboration on the moral or spiritual significance of these characteristics.

This amazing book was produced in the first decade of the 13th century, and is one of the earliest bestiaries to feature vivid paintings of animals. They are set on gold grounds and in colourful frames, supplanting the line-drawn renderings that populated earlier bestiaries. These lavish illuminations would have made this a costly book to produce, and so it is likely that it was produced for an aristocratic, or even royal, owner who could read Latin or had a chaplain who could do so.

Even more frustrating was the interpretation within the book. A Medieval Bestiary is in Latin (and written in that sort of fancy medieval font that makes it difficult to read even if you do know Latin). But there is no translation of the actual text. The interpretation merely describes the illustrations. In some cases (but not all) that includes a summary of the text around the image, but even then that's almost worse, because what you get are stunted plot points of a story that probably would have been a lot more interesting to read for itself.

Basically, I look at A Medieval Bestiary and think of all that it could be, but isn't. Particularly with the iPad book format, there's such an opportunity here to add lots of context: History, philosphy, quotes and links to other works. Done right, a reader could come away from this understanding more about medieval society as a whole and the development of science from magical/religious art to rational tool. Instead, A Medieval Bestiary just wants to tell you what's going on in the pictures. There's nothing wrong with that. But I'm too old and too wise to waste much time thinking I can change a book into something it's not. 

Besides, in the course of breaking up with it, I discovered that A Medieval Bestiary had been kind of misleading me all along. I paid the equivalent of $8 for this book (I was offered a free review code, but couldn't figure out where to apply it during the ordering process). But, turns out, this isn't exactly unique content. In fact, the whole thing is available as free PDFs on the website of the Royal Library. Some of the scanned pages there even come with the exact same interpretation as is offered in the iPad version. Which just kind of serves to make the shortcomings of the iPad book that much more apparent. I don't mind paying $8 for something really cool. I mind paying $8 for an iPad version of something I can get for free as a PDF. If the publishers – eBook Treasures – were going to convert A Medieval Bestiary to iPad, why not take advantage of that and do some stuff that you couldn't do with PDFs? 

Sadly, I think it's time this book and I went our separate ways. Hopefully, we can still be friends. And, who knows, maybe in the future, when A Medieval Bestiary has had some time to grow, we can rekindle the relationship. 

 

The British Library: Books of Beasts in the British Library: the Medieval Bestiary and its context (the book published on iPad as A Medieval Bestiary is listed here as Royal 12 C. xix)

Explore and learn more about medieval bestiaries as a genre at The Medieval Bestiary website (not affiliated with eBook Treasures or the iPad version of The Royal Bestiary)

Image: An illustration from the The Royal Bestiary, depicting a unicorn laying its head on the lap of a lady. Presumably, the illustrator had never seen a unicorn, nor (one suspects) a lady.

 

Maggie Koerth-Baker is the science editor at BoingBoing.net, the science columnist at The New York Times Magazine, and the author of  Before the Lights Go Out.

 

The New Republic gets Download-The-Universe-ish!

Here at Download the Universe, we're pleased to see a venerable publication like the New Republic give some attention to science ebooks--in the August 23 print edition, no less. In "The Naked and the TED," Evgeny Morozov takes a look at three ebooks published by TED. His harsh verdict is a lot like our reviews of a couple TED titles (me on The Demise of Guys, David Dobbs on Smile). He even refers to my review in the piece--although he doesn't actually mention Download the Universe, a shout-out that would have been most appreciated. 

Morozov's main object of scorn is a TED ebook called Hybrid Reality. I can see why. It's one of those utopian manifestos promising solutions to all our woes--political, social, medical, and so on--through advances in technology. Attacking a book like Hybrid Reality is not a big jump for Morozov--he writes frequently about the hidden threats to democracy posed by the Internet.

Morozov's writing has one main mode--the snarky attack. It works just fine when he's going after smiley-faced privacy-assassins like Facebook. But Hybrid Reality doesn't just invoke the Internet to promise us a better tomorrow. It also pledges that the Human Genome Project, neuroscience, and other branches of science will provide cures for what ails us. And since Morozov loathes the authors of Hybrid Reality, he stands ready to belittle whatever they like. If they like the Human Genome Project, for example, then it must be bogus. "The Human Genome Project," Morozov declares, "for all the hype it generated a decade ago, has not accomplished much."

What ruler is Morozov using to measure the project's accomplishments? He doesn't tell us, so we'll have to guess. If he relied solely on breathless news articles in the late 1990s and thought we'd have a cure for every disease known to man in under ten years, then I can see why he's disappointed. 

But if Morozov had done the right thing and had looked at the actual scientific impacts of the Human Genome Project, he'd see that scientists have indeed accomplished much. Thanks to the Human Genome Project, scientists have discovered a previously unknown lineage of extinct humans in Siberia. As I wrote last month in the New York Times, scientists are gaining a new appreciation of the role that microbes play in our bodies--an appreciation only possible because scientists sequencing the human genome figured out how to assemble complete genomes from broken pieces. By sequencing the entire genomes of patients, scientists can pinpoint the mutations responsible for genetic diseases. That's just the start of a very long list. (And let's not forget the $141 in economic benefit for every $1 of government investment in the Human Genome Project.) 

Morozov's dismissal of results like these is just as glib as the techno-utopianism that he attacks. 

Because Morozov is perpetually on the attack, I have no idea if he really thinks that the Human Genome Project is yet another bogus technological fix. Does he think that genome research can't possibly solve any problems? More broadly, I wonder what Morozov thinks is the proper place of technology and science in society. If I've missed this in Morozov's writings, I'd be happy for someone to point it out to me.

Like the Human Genome Project, ebooks are guilty by association--or at least ones published by TED: 

When they launched their publishing venture, the TED organizers dismissed any concern that their books’ slim size would be dumbing us down. “Actually, we suspect people reading TED Books will be trading up rather than down. They’ll be reading a short, compelling book instead of browsing a magazine or doing crossword puzzles. Our goal is to make ideas accessible in a way that matches modern attention spans.” But surely “modern attention spans” must be resisted, not celebrated. Brevity may be the soul of wit, or of lingerie, but it is not the soul of analysis. The TED ideal of thought is the ideal of the “takeaway”—the shrinkage of thought for people too busy to think. I don’t know if the crossword puzzles are rewiring our brains—I hope TED knows its neuroscience, with all the neuroscientists on its stage—but anyone who is seriously considering reading Hybrid Reality or Smile should also entertain the option of playing Angry Birds or Fruit Ninja.

This is fun to read, but it raises questions that it can't answer. Are ebooks by their nature corrupting? Or does Morozov only object to ebooks that are produced by one organization that he doesn't like? Here at Download the Universe, we don't flinch from calling garbage what it is. But we also find ebooks that delight us. Is such a thing even possible in Morozov's moral universe? I know for a fact that Morozov reads Download the Universe, and so let me end with four words: Our comment thread awaits.

--Carl Zimmer

 

 

Science by Candlelight

The Chemical History of a Candle, by Michael Faraday, (Griffin, Bohn And Co., London, 1861), available free from Project Gutenberg in multiple e-reader formats and also from LibriVox as a free audiobook.

reviewed by Deborah Blum

 "There is no better, there is no more open door by which you can enter into the study of natural philosophy than by considering the physical phenomena of a candle."

 

It was the above line that first caught my attention. The recognition that we often best appreciate our extraordinary natural world by seeing it through the lens of the ordinary: crystalline structure as revealed by the stitchery of winter frost, the chemical dance of light and life found in the changing colors of leaves, the hot whisper of oxygen as it sends the flame higher.

That recognition has driven much of my own science writing – the idea that we can often illuminate science through tales of the everyday.  I wish I could tell you that I'd thought of it first, that it was somehow primordially my own.  But, at best, I think I can claim to be carrying on a time-honored tradition. Because it's very clear that the 19th century scientist Michael Faraday was doing that and doing it exceptionally well some 150 years ago.

Here at Download the Universe, we reviewers are mostly looking toward the future - what we hope is the promise of e-books, their potential to transform the reading experience. Possibly transcend it. But I want to take this opportunity to explore another aspect of the electronic publishing world, the ability to explore our past, the free archives offered by publishers like Project Gutenberg. 

Founded in 1971 by the late Michael Hart, Project Gutenberg began as a labor of love, the painstaking transfer of books in the public domain - many of them once forgotten-- into digital life. The Gutenberg website now makes 39,000 free e-books available. It also links with digital partners to provide access to another 60,000 e-manuscripts. Like Faraday's candle--to stretch that analogy a little here -  it offers an open door, a brightly lit access to the words, and even the wisdom, of our past.  Like no other generation, we can explore this virtual library,  stumble across old chemical histories of candles and learn to think differently about our own work.

And stumble is exactly what I did.

I see you are not tired of the candle yet, or I am sure you would not be interested in the subject in the way you are.

Not that it was much of a fall.  More of a sidestep. I spend a lot of my time writing about and researching the history of science, for books like The Poisoner's Handbook, my recent story of poison, murder and the invention of forensics in the early 20th century. I do so because I believe--no, really, I know--that we cannot understand who we are unless we understand how we got here. And so I was doing some research into the history of chemistry and Faraday's book almost immediately appeared in my browser.

This, I think, is the other magic wrought by on-line publishers like Project Gutenberg. You can be happily rambling through the history of chemistry (a phrase, I know, that only a geek could write) and suddenly discover that a scientist born in the close of the 18th century (1790) understood perfectly the very principles of science communication that you'd been preaching in the 21st century.