Posts tagged europe
Creative ideas are not always solo strokes of genius, argues Ed Catmull, the computer-scientist president of Pixar and Disney Animation Studios, in the current issue of the Harvard Business Review. Frequently, he says, the best ideas emerge when talented people from different disciplines work together.
This week, Nature begins a series of six Essays that illustrate Catmull’s case. Each recalls a conference in which a creative outcome emerged from scientists pooling ideas, expertise and time with others — especially policy-makers, non-governmental organizations and the media. Each is written by someone who was there, usually an organizer or the meeting chair. Because the conferences were chosen for their societal consequences, we’ve called our series ‘Meetings that Changed the World’.
This week, François de Rose relives the drama of the December 1951 conference at the UNESCO headquarters in Paris that led to the creation of CERN, the European particle-physics laboratory based near Geneva (see page 174). De Rose, then France’s representative to the United Nations Atomic Energy Commission, chaired the meeting. He had got caught up in the process after becoming friends with Robert Oppenheimer, one of CERN’s earliest proponents. De Rose said in a separate interview with Nature that CERN was the result of the capacity of scientists such as Oppenheimer to propose grand ideas, and worry about obstacles later.
Although this approach does not always work, the next few weeks will show that it really has changed the world. In the ensuing half-century, CERN has revolutionized our understanding of the subatomic world; with the switching-on this week of the Large Hadron Collider (see page 156) it promises to scale new heights.
B.C. BBQ
Stone age people drove animals hundreds of miles to a site close to Stonehenge to be slaughtered for ritual feasts, according to scientists who have examined the chemical signatures of animal remains buried there. The research suggests that Neolithic people travelled further than archaeologists had previously realised in order to attend cultural events.
Durrington Walls is a stone-age village containing the remains of numerous cattle and pigs which are thought to have been buried there after successive ritual feasts. The site is two miles north east of Stonehenge and dates from around 3000 BC, 500 years before the first stones were erected.
“We are looking at communication networks and rituals that are bringing people from a large area of southern England to the Stonehenge area before the Stonehenge stones were in place,” said Dr Jane Evans at the British Geological Survey in Nottingham. “I think what we are seeing is basically a sort of bring-your-own-beef barbecue at Durrington Walls.” The evidence points to groups of people driving animals from as far away as Wales for the feast events.
L’oeuf à soixante-cinq degrés
“Cooking eggs is really a question of temperature, not time,” says This. To make the point, he switches on a small oven, sets the thermostat at 65°C, or 149°F, takes four eggs straight from the box, and unceremoniously places them inside. “I use an oven in the lab; it’s easier. But if the oven in your kitchen is not accurate, cook eggs in plenty of water, using a good thermometer.” About an hour later—timing isn’t critical, and the eggs can stay in the oven for hours or even overnight—he retrieves the first egg and carefully shells it. “The 65-degree egg!” he announces. The egg is unlike any I’ve eaten. The white is as delicately set and smooth as custard, and the yolk is still orange and soft. It’s not hard to see why l’oeuf à soixante-cinq degrés is becoming the rage with chefs in France.
20yrs experience needed
What I went to last night was not the full-blown Passion play - that won’t happen until 2010 (they’re working on it now). I attended instead a play called JEREMIAS, written by the Jewish pacifist Stefan Zweig in 1933, which featured a relatively modest cast of 500, ranging in age from 3 to 80. The criterion for being in a play is that you should be born in Oberammergau or have lived there for 20 years. The current director is Christian Stückl, a local man who directed his first Passion at the tender age of 28 (making him the youngest director in the long history of the play). Stückl told us that, in the 2000 Passion, a group of Muslim inhabitants of the town asked if they could be included: they’d by that time fulfilled the 20 year residency criterion. After enormous discussion during which the Muslim folk elucidated the parallels between the Koran and the Bible, they were included.
Sometimes conversion is gradual, but quite commonly things come to a head in a single instant, which can be triggered by a text, an image, a ceremony or some private realisation. A religious person would call such a moment a summons from God; a psychologist might speak of an instant when the walls between the conscious and unconscious break down, perhaps because an external stimulus—words, a picture, a rite—connects with something very deep inside.
For people of an artistic bent, the catalyst is often a religious image which serves as a window into a new reality. One recurring theme in conversion stories is that cultural forms which are, on the face of it, foreign to the convert somehow feel familiar, like a homecoming. That, the convert feels, “is what I have always believed without being fully aware of it.”
Take Jennie Baker, an ethnic Chinese nurse who moved from Malaysia to England. She was an evangelical, practising but not quite satisfied with a Christianity that eschews aids to worship such as pictures, incense or elaborate rites. When she first walked into an Orthodox church, and took in the icons that occupied every inch of wall-space, everything in this “new” world made sense to her, and some teachings, like the idea that every home should have a corner for icons and prayer, resonated with her Asian heritage. Soon she and her English husband helped establish a Greek Orthodox parish in Lancashire.
Tell Augustine that he should by no means destroy the temples of the gods but rather the idols within those temples. Let him, after he has purified them with holy water, place altars and relics of the saints in them. For, if those temples are well built, they should be converted from the worship of demons to the service of the true God. Thus, seeing that their places of worship are not destroyed, the people will banish error from their hearts and come to places familiar and dear to them in acknowledgement and worship of the true God.
Further, since it has been their custom to slaughter oxen in sacrifice, they should receive some solemnity in exchange. Let them therefore, on the day of the dedication of their churches, or on the feast of the martyrs whose relics are preserved in them, build themselves huts around their one-time temples and celebrate the occasion with religious feasting. They will sacrifice and eat the animals not any more as an offering to the devil, but for the glory of God to whom, as the giver of all things, they will give thanks for having been satiated. Thus, if they are not deprived of all exterior joys, they will more easily taste the interior ones. For surely it is impossible to efface all at once everything from their strong minds, just as, when one wishes to reach the top of a mountain, he must climb by stages and step by step, not by leaps and bounds….
Mention this to our brother the bishop, that he may dispose of the matter as he sees fit according to the conditions of time and place.
We, holding Art in our hands, confidently consider ourselves to be its masters; boldly we direct it, we renew, reform and manifest it; we sell it for money, use it to please those in power; turn to it at one moment for amusement — right down to popular songs and night-clubs, and at another — grabbing the nearest weapon, cork or cudgel — for the passing needs of politics and for narrow-minded social ends. But art is not defiled by our efforts, neither does it thereby depart from its true nature, but on each occasion and in each application it gives to us a part of its secret inner light.
—Aleksandr Solzhenitsyn, Nobel Lecture, 1970
Blacksmith Shop
I liked the bellows operated by rope. A hand or a foot pedal - I don’t remember. But that blowing and blazing of fire! And a piece of iron in the fire, held there by tongs, Red, softened, ready for the anvil, Beaten with a hammer, bent into a horseshoe, Thrown in a bucket of water, sizzle, steam.
And horses hitched to be shod, Tossing their manes; and in the grass by the river Plowshares, sledge runners, harrows waiting for repair.
At the entrance, my bare feet on the dirt floor, Here, gusts of heat; at my back, white clouds, I stare and stare. It seems I was called for this: To glorify things just because they are.
A sofa revolution
A group of frustrated neighbors in the Dutch city of Delft finally got fed up about autos speeding down their street. One night, they dragged old couches and tables into the middle of the road, strategically arranging them so that motorists could still pass—but only if they drove slowly. The police eventually arrived and had to admit that this scheme, although clearly illegal, was a good idea. Soon the city was installing its own devices to slow traffic, and the idea of traffic calming was born—an innovative solution now used across the globe to make streets safer.
A sea of technology
Einstein’s day job
It turns out that this business of the young Einstein’s immersion in questions of train time and clock accuracy was central to his entire development, and that of his theory. I doubt I am particularly unique in long having imagined Einstein’s day job at the Swiss patent office as something akin to Kafka’s, around the same time, in the railway (!) insurance bureaucracy over in Prague: mindless drudge work, something to help pay the bills while the real work of genius transpired late at night and around the margins. It turns out, though, that the central focus of Einstein’s work there at the patent office in Bern around the golden year of 1905-06 (perhaps not surprisingly so, Switzerland after all being famous for being the world’s center for clockmaking) were applications having to do with devices capable of ever more accurate timekeeping. ... [W]hat with his job at the patent office, the young Einstein may have been the world authority on cutting-edge practice and thinking in these regards. He would have been thinking about simultaneity all day long: and at night he just kept on thinking.
The next Last Supper
To the strains of modern opera, he used cutting-edge technical trickery to make Leonardo’s Christ appear like a three-dimensional hologram while a radiant sun rose and fell over his head. He turned the original colourful image red, grey and black before the artist’s gentle brush strokes were replaced with a chalk outline of the 13 figures, as if Leonardo had drawn a crime scene. Dawn broke, dusk fell and by the end the disciples had been dramatically cast into the shadow of prison-like bars.
To at least one of the world’s experts on Da Vinci, Greenaway’s work amounted to cultural vandalism. But to others it may have saved The Last Supper’s reputation from The Da Vinci Code, Dan Brown’s blockbuster novel, which frustrated many experts by reducing the painting’s hidden meanings to a plot device.
“It has reconsecrated the painting after Dan Brown deconsecrated it,” said Vittorio Sgarbi, a leading art critic and former head of arts for the Milan local government.
First impressions
[The cave at] Chauvet was a bombshell. . . . Its earliest paintings are at least thirty-two thousand years old, yet they are just as sophisticated as much later compositions. What emerged with that revelation was an image of Paleolithic artists transmitting their techniques from generation to generation for twenty-five millennia with almost no innovation or revolt. A profound conservatism in art, [author George] Curtis notes, is one of the hallmarks of a “classical civilization.” For the conventions of cave painting to have endured four times as long as recorded history, the culture it served, he concludes, must have been “deeply satisfying”—and stable to a degree it is hard for modern humans to imagine.