A Daily History of Holes, Dots, Lines, Science, History, Math, Physics, Art, the Unintentional Absurd, Architecture, Maps, Data Visualization, Blank and Missing Things, and so on. |1.6 million words, 7500 images, 4.9 million hits| Press & appearances in The Times, Le Figaro, Mensa, The Economist, The Guardian, Discovery News, Slate, Le Monde, Sci American Blogs, Le Pont, and many other places… 5000+ total posts since 2008.

Author: JF Ptak

  • A Beautiful Regression, and then Some (1877)

    JF Ptak Science Books   Quick Post

    This beautiful bit of data visualization was a significant development in the history of statistics and was employed in pioneer Sir Francis Galton’s “Typical Laws of Heredity, III”, which appeared in Nature magazine on April 19, 1877.  

    Galton707[Image: Francis Galton, “Typical Laws of Heredity, III”, Nature. p 513, April 19, 1877] 

    Tis follows on the heals of the first paper in this series, earlier in the month of April, 1877:

    Galton 1877 regression _1_

    This contribution by Galton is the “first major step in the development of correlation and regression analysis” according to Judy Klein’s Statistical Visions in Time: A History of Time Series Analysis, 1662-1933, (page 131). She continues: 


  • Prison Camp Music of Stalag VIII B (1944)

    JF Ptak Science Books  Post 2693

    I found this unexpected leaflet this morning, the title of which is enough to stop anyone: A Grand Concert by the Massed Bands & Choirs of Stalag VIII B. 80 Bandsmen, 80 Choristers. PRISON CAMP MUSIC and the Part Played by the Red Cross & St. John. It was printed in London in 1944, and printed by by the Red Cross and St. John War Organization and is a leaflet (20x13cm, 4pp, single sheet folded vertically) which I reproduce in full below.  (Provenance: Library of Congress, received by them September 1944, with their rubber stamp on the front cover.)

    There are no listings for this item in the WorldCat/OCLC, and a google search has one hit, finding the leaflet at the National Army Museum in London–outside of this, I cannot find it. This is a little surprising given that it was sued to raise awareness and funds; that said, it was also highly ephemeral, meaning it was probably thrown away very easily and often.  

    Prison camp orchestra _1_I am not an expert in this field, though one thing that can be said for sure was that overall British and U.S. held as POWs by the Germans were treated much more humanely than other nationalities of soldiers (particularly the Russians), and so it was possible for some POWs to enjoy receiving Red Cross packages while interned. I did not know about an orchestra with 80 instruments and a choir of 80 voices. At first blush this seems like a work of home front propaganda, an attempt to establish hope for normalcy for the families of soldiers taken prisoner, though it seems as though these accommodations were made by the Nazis in deference to the British and Americans. (Again, this is a broad generalization and no doubt those enjoying POW music at Stalag VIII B were in the distinct minority. At Stalag VIII B it looks as though the main group of POWs were British, and then segregated in different parts of the camp were Indians, and then another section for Greeks, Cypriots, and Palestinians, and then in an entirely different section of the camp under lights and interior barbed wire was a camp for the RAF. British airmen were treated “differently” than the rest given at that time the terrific damage being inflicted upon Germany from endless nighttime British bombing raids. 

    On the reception of Red Cross packages at Staalg VIII B and other Stalags in general, from “MEDICAL SERVICES IN NEW ZEALAND AND THE PACIFIC: CONDITIONS AT STALAG VIIIB, LAMSDORF”, from New Zealand Electronic Text Collection:

    Prison camp orchestra _2_

    “Owing to a Red Cross parcel bottleneck at Lisbon there was a complete parcel failure from January 1942 until May 1942…Regarding Red Cross parcel shipments: “The year 1943 was relatively full, except for three months following the German occupation of Italy…During early 1944 Red Cross supplies were adequate, and, in fact, most camps, both large and small, endeavoured to build up a three months’ reserve of their Red Cross food. Unfortunately, on …17 September 1944)…most Wehrkreise (war districts) came an order from the Oberkommando der Wehrmacht: ‘All prisoner of war tinned food must be destroyed forthwith.’ This order was ruthlessly enforced, particularly on the many (over 600) working parties of Stalag 344 [part of Stalag VIII B], with the result that, whilst there was a week’s feasting on salmon, sardines and meat roll, lean and hungry months followed. Even in the Lazarett at Lamsdorf, where the patients and staff enjoyed community messing, much of their tinned food was destroyed, with the resulting onset of semi-starvation, which did not abate till the end of the war.”

    Prison camp orchestra _3_

    “The Russian prisoners had no Red Cross food and they were starved on bread and turnip soup. In vain did the British medical officers at Cosel plead with the German medical authorities for food, rather than drugs, to treat their Russian patients. Only after a change of senior German medical officers and the start of the Russian offensive towards the Reich in March 1943 did the German attitude change and the health of those miserable Russians improve.”–

     

    Also this story at the end of the war should be shared (although it has nothing to do with this leaflet): “In January 1945, as the Soviet armies resumed their offensive and advanced into Germany, many of the prisoners were marched westward in groups of 200 to 300 in the so-called Long March. Many of them died from the bitter cold and exhaustion. The lucky ones got far enough to the west to be liberated by the American or British armies. The unlucky ones were ‘liberated’ by the Soviets, who instead of turning them over quickly to the western allies, held them as virtual hostages for several more months, until the British agreed to release to the Soviet Union POWs of Soviet origin who had been fighting on the German side, which left the British Government with little choice on the matter, even though they were understandable reluctant to hand these men over to the Soviet Union for their inevitable execution. These soldiers from states such as Latvia, Lithuania and Estonia for example, had fought with the Germans in an effort, as they saw it, to release their own homelands from Soviet occupation and oppression.”–lamsdorf dot com

     

    ·Posted by :

    ·in:

    —

  • Classic Work on the French Resistance, 1944

    Kessel armee des ombresJoseph Kessel, L’Armee des Ombres, Chronique de la Resistance. Pantheon Books, New York, 1944, edited by Jacques Schiffrin.  185x18mmm 266pp. Written in London, completed in the summer of 1943.  Original red, white, and blue wrappers, and printed on a nice paper stock, and mostly unopened. Overall a nice production, in a “paperback” size but hardly a paperback format. Rather thick for this format, which usually means that the spine is cracked, though in this case, it is not. Very nice copy.  About Fine. $75

    Kessel (1898-1979) was a very interesting man of long accomplishment, a significant figure in the history of modern French literature, and a patriot, and a resistance fighter. He wrote this book using himself as a model for the main character (named “Philippe Gebier”), and used his experiences along with those of others to create this story of resistance–it seems that while the characters were composites, the overall story was real and accurate. As he states in the opening sentence of the book, “Il n’y a pas de propaganda dans ce livre et il n’y a pas de fiction” (“This is not a work of propaganda nor a work of fiction”). He makes it abundantly clear in this book that the absolute duty of all French citizens was civic disobedience and resistance, period. 

     

    ·Posted by :

    ·in:

    —

  • “I Escaped from Nazi Germany” (1944)

    JF Ptak Science Books  Post 2692

    I Escaped from Nazi Germany, a French Deportee’s Report, is a short, compact story by a French resistance fighter (of the “Armee de l’Ombre”) and observer/informationist. The writer is not identified, though the translator ( Egon Larsen) is, along with author of the author of the foreword (Waldeck Rochet). It was published by I.N.G. Publications in London in 1944, and although it is unclear whether this is pre/post 6 June, the writer does make it clear that the end was near for the Nazis.

    Perhaps the most emotional part of the pamphlet is the section (“Slave Workers and  Prisoners-of-War Under the Swastika”) on “foreign workers”. There’s a fairly longish description of the types of slave labor being done in Germany, and of the accommodation of the ‘workers”, with some insight on those who were kept in private houses/stables/billets and not in a camp. There’s also an interesting statement that speaks to the numbers of “foreign workers” in sections of Germany, saying that amidst the sea of these slaves that it was difficult to find an actual German resident. Then, at the extreme end of the treatment of foreign workers, in listing the tragedies of those people forced into cruel labor, the author ends with:

    “Foreign workers run the risk of being sent to concentration camps; and everyone knows what that means.”

    This may be the Great Unspoken of the war–unspoken though spoken, or unheard, or partially heard, or heard but not believed. 

    “A terrible fate await those who are sent to Dachau, the notorious torture camp” the pamphlet continues, followed by a short discussion of terrible working conditions and brutal treatment. Then there is a curious statement, an attempt to show the essential savagery of the Nazi/German, relating how there were “other Germans who were there fellow prisoners” [italics mine], not “just” foreign slave workers at the camp, “and whose treatment was even worse than that of the foreign workers”.  These “other Germans” could have been political, or gay, or a host of other legislated offenses–but in 1944, these people were no doubt Jewish, though the “Jewish” part of this explanation goes unmentioned.And so far as I can tell the only time the word “Jew” or “Jewish” appears in this pamphlet is a description of serendipitous punishment levied on the foreign worker for simple infractions of not-necessarily-exiting codes of behavior: “A Jew who tried to pick up a cigarette butt was ‘shot out of hand’”. This person, this Jewish person, was identified as a “Jew” as a social indicator (like telling someone to go ask Moshe, the Jew) rather than identifying the person as a class of people signaled out for particularly brutal treatment.  Rather than just say “a person” or “someone” being shot for picking up a cigarette, the writer identified that someone simply as a “Jew”. 

    I escaped Nazi Germany

    So, most of the pamphlet is an outsider’s view inside Germany–how the Germans live, what they eat, traffic conditions, Hitler Youth, and so on. There’s a discussion of R.A.F. (nighttime) bombing and the “catastrophe” of rail travel. There are also plenty of attacks on the social fibre and people of Germany laced throughout the work: “the uniformity of the masses can be found everywhere”, “their faces betray an enormous tiredness”, “the faces of the Germans do not show anything but appalling mediocrity”, “not human beings but automatons”, that sort. Also there’s a fair amount of notice on the state of terror instilled by the Gestapo on the German population (“Himmler’s Gestapo terrorism”): “individual expressions of dissatisfaction are suppressed with fantastic brutality”.  

    I wonder that in all of this ability of insight how the author missed the particularly brutal treatment of the Jews–especially when he knew about Dachau (to some degree), and spent so much time in Germany, and it was 1944.  It is certainly possible, I guess, but I don’t know how likely that possibility is, knowing so much about a big piece of the picture.  Perhaps much of what he says in hearsay, or second hand, or contrived for propaganda purposes, and perhaps not; I doubt it is a knowable thing. 

     

    ·Posted by :

    ·in:

    —

  • Graphs of Defects of American Soldiers, 1919

    JF Ptak Science Books Quick Post

    Right at the end of WWI there appeared a famous publication on the end results of an epic study on the physical conduction of U.S. men drafted into the armed services:

    War Department: Defects Found in Drafted Men; Statistical Information Compiled from the Draft Records…the Physical Condition of the Men registered and Examined in Pursuance of the Requirements of the Selective Service Act, Prepared under the direction of the Surgeon General M.W. Ireland, Major General, MC U.S. Army, by Albert G. Love, MD…and Charles B. Davenport... 

    This huge (358pp) report was printed by the Government Printing Office in 1920 and provided more data of enlisted men than had ever exited, and for good or for ill (and for the various problems encountered in data collection and interpretation), there was a tremendous stew of bubbling bits of human failure and detractions, real and not.

     Full text via National Library of Medicine: https://collections.nlm.nih.gov/bookviewer?PID=nlm:nlmuid-9502639-bk  NIH Digital Collections

    • “This 1920 study of the men called by the selective service for the U.S. Army upon America’s entry into the Great War was ordered by the War Department, and it employed as its eugenics specialist, Charles Davenport. The study looked at many types of physical, psychological, and mental factors within this part of the male population of the United States.”
    • “The conclusion of the analysis was than an inordinately high proportion of U.S. Army draftees were defective and below average in physical fitness and psychological or mental readiness. Davenport and his colleagues also concluded that much of the American male population was not equipped for participatory democracy. This test of U.S. soldiers was thoroughly challenged at the time due to suspect analytical methods.”–University of Missouri Library   https://library.missouri.edu/exhibits/eugenics/defects.htm

    ===blog==aug 9=defect graph

     


  • German Interior Design Catalog, 1907

    JF Ptak Science Books  Quick Post

    This beautifully illustrated 1907 German book1 seems to me to be a sales catalog for a company selling flat-masks, or templates, through which desirable and somewhat complicated (or at least complex) nay be produced.  A customer could leaf through this book of 60 designs which are arranged according to room type, and perhaps, if the fancy struck, could purchase the sheets and instructions necessary for the job to be done.  For example, plate #44 (Reggie Jackson’s number in the great summer of 1977), the “Pause mit Hilfsschablone” (its identifier in the “Preisliste” and offered at 10 Marks) is meant to decorate a wall for a stairway. 

    Jugendstihl361

    The great bulk of the designs are those for ceilings, and ceiling corners, as well as for wall designs and the small bits that run slightly above the floor and the wall (I’m sorry, but I don’t know the technical term for this).

    In any event it is a very surprising work to find–for me, at least–to see someone selling the possibilities of such advanced design motifs in a simple, order-it-from-our-catalog format.

    Notes:

    1.  Paul Steuer.  Malereien fuer Flachenschablone und Pinseldruckmanier in modernem und Biedermeier-Stil, published by the Otto Baumgaertel publishers, Berlin, in 1907.  Only two copies of this work are found in WorldCat, at the Staatsbibliothek zu Berlin and another in the Wissenschcaftliche Staatsbibliothek in Mainz. 

    Jugendstihl365

     

    http://upload.wikimedia.org/wikipedia/commons/a/a0/Zimmerbild_83.jpg

     

    ·Posted by :

    ·in:


  • A Glorious Episode in Outsider Literature–“the Great Scope Ever to be Attempted in a Work on Paper”, and a Peep into the Year One Billion A.D…

    JF Ptak Science Books    Post 2691

    There are some things that stand to be admired simply because exist. They may be mundane, but they are the magnificent mundane, brought to life by sheer force of will. Such I think is the case of Mr. Hoerger’s Poemusicdramuraliterature Epic Poem the Immortal memory in the Glorious Tragedy of Life (1946). The work is billed as a “Valentine Day Classic, quintuple of Art”, the “greatest scope ever attempted in a work on paper”.  It is a big claim made by a little book–bound in red cloth, it measures 4″x2.5″ and is 86 pages long, though the word count for all of the little pages only makes it to about 8000 words, or about 20 type pages. I don’t think that the book ever actually catches up to itself, as for what I can see of it, it is always one step ahead of itself and one step behind.

    Outsider poemliterature _1_

    (I’m guessing that Mr. Hoerger could have lived at 160 Bleeker Street–it is the Mills Building No. 1, and was built in 1910, where today you could easily spend 4.5k/month for a one-bedroom place…unless the printer for this book was in the basement, and Mr. Hoerger lived elsewhere. This copy by the way came to me via the Library of Congress and is one of the Copyright Deposit copies. There are at least five other works copyrighted by Mr. Hoerger; Highroad Number Z, Vintage One (1941),  Immortal Aid (1946), The Daze of Forty-Nine (1958), and Deep Surprise, post-Abstraction, Space-age Understatement (1961).)

    We are reminded of the new sort of “work on paper” this is on the half-title page (identified so), as well as the non-sequitur “art & university libraries, esp”, which seems like an enormous emotion of some unidentifiable sort that the author brings to bear on the possible reader:

    Outsider poemliterature _2_

    The extraordinary cover:

    Outsider poemliterature _3_

    And a sample of the writing, which is, at the very least, quite something; it seems a major attempt at producing and communicating ideas that are just too far in an unreachable zone for me, though I have to give credit to the author for his imagination and for completing a project.  

    I should point out that in the last section of the last page reproduced here something is “calibrated” at “50 septillion light years”, which is a pretty big number in the scale of the base -illions, especially when you think about the universe being “only” 13 billion years old–that means that the width of the universe in 26 billion light yeas wide  or 156 billion light years in the altogether or some such, but 26,000,000,000 is crushed by the 50,000,000,000,000,000,000,000,000 light years being discussed here. Of course there’s also the fast-forward to the future part, introducing the year 1,000,000,000. That would be impossibly far into the future, considering that Homo sapien has been around for 150,000 years or so, and that there have been about 7,500 generations in that time. The Year Ten Billion would entail 400 million generations (and that’s assuming that we haven’t started to “live” forever after the year 3000 or 2500 or whatever) since we have been brought to our present medical modernity in the scant eight or nine generations since Joseph Lister invented the idea of sterilizing operating instruments, and considering again that we are just three or so generations removed from DNA (1953) and the first successful heart transplant (1967) and how far the replacement of human bits has come since then, it is impossible to say where medicine might be in a 50 generations or a thousand years, let alone in ten billion years. 

    I do have to commend the author for thinking big. And: he does make you think. 

    Outsider poemliterature _4_

     


  • A True “Severance of the Sea”–the “Perpendicular Barrier of Ice”

    JF Ptak Science Books  Post 2689

    These maps seems both simple and complex, orderly and chaotic. The truth of the matter is that there’s very little black ink on these sheets for as much information as they are sharing, and yet still look to be pretty deep in the data department.  They are maps1 of ocean currents of the Atlantic and Pacific Oceans, and show water temperatures, charts of historic voyages, lines of transportation along with how long the voyage would last, and other pieces of information. 

    Maps ocean currents pacific detail

    I’ve scanned these in some detail so that they can be enlarged so that the tiny text can be read. While I was looking over these beautiful lines, I found the following lines at the extreme south edge of the Pacific Ocean map, in Antarctica, under the wide “Antarctic Drift Currents”, just barely on the map next to South Victoria: “perpendicular barrier of ice”.  ANd no doubt they meant it. The phrase is cold and barren striking, so I went looking for it online, to see how often it may have been used–and according to google, it hasn’t been used very much at all. One result from the Geographical Journal, which reads:

    “The result of these two seasons exploration was the discovery of a pool of more or less open water some 600 miles in diameter between latitudes 68 and 78 bounded on the west by a stupendous range of ice clad mountains on the south by a perpendicular barrier of ice and on the east and north east and for the most part on the north by the main pack.”2

    This was in response to the approach of reaching the magnetic South Pole, but in addition to everything else, there was this perpendicular wall of ice that stretched for miles and miles, an unapproachable mass hundreds of feet high, after which stood mountain, which were much higher. 

    There are many pieces of data like this on these maps–take your time and enjoy them

    Notes:

    1. The maps are from Johnston’s Physical Atlas, printed by William Blackwood & SOns in London, ca. 1860-1870. (There were earlier editions of this map, beginning in 1852 it looks like, that were considerably larger. The present maps are 20x26cm.)

    2. “Renewal of Antarctic Discovery”, by John Murray, in The Geographical Journal, 1904, volume 3, page 28.

      Maps ocean currents pacific

     

    Maps ocena currents atlantic


  • TV and the Nazis, Redux (1944)

    JF Ptak Science Books  (Expanding an earlier Quick Post)

    Television 1939

    Nazi tv770

    In all my exposure to the history of WWII  I am pretty sure that the only reference to Nazi television has been along the lines of the Berlin Olympics or Carl Sagan’s Contact–that and some dim memory about Hermann Goering somehow in the great bowels of the labyrinthine Nazi bureaucracy being in control of the fledgling German television broadcasting. The International Future of Television, an address by Paul Railbourn before the American Television Society in NY in January 1944, discusses the possibility of television in the Post WWII era–and in that, stresses in no uncertain terms that the to-be-defeated Nazis should not have access to the new medium. Railbourne (who would later become a VP at Paramount Pictures) talks about how Hitler utilized and dominated the radio, and how after the war re-education of Germany was necessary along with free enterprise undertaking of newspapers, radio, television, and motion pictures. (He does make a good point, especially with the Nazi domination of radio–not only did they control development, sale, and distribution of radios but also the overwhelming majority of the content of broadcasts. The Nazi control of popular broadcast and live performance culture was virtually complete. 

    He notes that “The Nazis are well aware of the importance of television…destroy the Luftwaffe and the Krupps Armament works, but leave television in their hands, and we shall be leaving them with the most powerful weapon of all…”

    To that end the author discusses post-war control of radio and television in German. He also talks about establishing television networks throughout the U,.S. as quickly as possibly to “capture world leadership in television programming” and “carry the gosphel of the Four Freedoms to all mankind”.  “…Television will play a vital role, for good or ill as it is intelligently or evilly directed, in the establishment and maintenance of an enduring peace, once the present war comes to an end.”

    Railbourne made good sense, and had I think a pretty good idea of the coming possible influence of the new medium.

    A recent book does a fantastic job in investigating and telling the history of the Nazis and sound: Carolyn Birdsall’s Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933‑…(published in 2012)

    (“In Nazi Soundscapes, Carolyn Birdsall offers an in-depth analysis of the cultural significance of sound and new technologies like radio and loudspeaker systems during the rise of the National Socialist party in the 1920s to the end of World War II. Focusing specifically on the urban soundscape of Düsseldorf, this study examines both the production and reception of sound-based propaganda in the public and private spheres. Birdsall provides a vivid account of sound as a key instrument of social control, exclusion, and violence during Nazi Germany, and she makes a persuasive case for the power of sound within modern urban history.”–Goodreads. I highly recommend this book. )

     

  • A Rare Set of Specs for the RCA Photophone (Full Text Posted)

    JF Ptak Science Books

    The New RCA Victor Photophone Recording System.  11×8.5″, 44 typed mimeo leaves, with 24 leaves of blue-line photographs and schematics of the  equipment.  Punch-bound at one time, though metallic binding element is not present. Printed on the stationery of  “R.C.A. Victor Company, Inc.,  Engineering Department”.  Very good condition. Document pp 1-44, lacking 26 and 27 (which seems to be a two-page section); images/blueprints 1-28, lacks 17,18, and 22.

    The text includes: General introduction (1-7, 4 illustrations), the Ribbon Microphone (8-12, 3 illustrations); Microphone Distribution Panel, (13-14pp, 2 illustrations); Microphone Mixing Panel (15-17, 2 illustrations); Compensator Panel (18-21, 2 illustrations); Recording Amplifier (22-25pp, 2 illustrations); Ground Noise reduction Amplifier (28-30, 2 illustrations); 35mm Film Recorder (31-34, 2 illustrations); 16mm Film recorder (page 35, 2 illustrations); Film Phonograph Reproducing Equipment (36-39 pages, 2 illustrations); Phototube Amplifier (40-41pp, 1 illustration); 35mm to 16mm Film Re-recorder, 42-44pp, 2 illustrations). 

    This a sound-on-film incunable. This means the pamphlet was printed within the first few years of the first “talking”  (synchronized sound, or sound technologically coupled to image) motion picture. The first feature length film using sound throughout1 the length of the movie was The Jazz Singer, which was released in 1927 and used a sound-on-disc2system of recording. That means that the audio portion of the film was recorded onto records, and then synchronized in playback with the film to match up the audio and video–this technology was obviously not the future.

    The technology of sound-on-film would take the day, and in very short order, leading to four different systems, of which the Photophone was one.  Photophone’s share of the prospective studio users was pretty good: the earliest major producers/licensees included Walt Disney Productions (after 1932), RKO Radio Pictures, republic Pictures, Warner Borthers, and Pathe.

    And on the Film Phonograph Reproducing Equipment:  “the need for combining two or more sound tracks, the adding of sound effects to an original recording, or matching around levels of scenes in the final editing of a picture has brought re-recording into an increasingly important position in sound picture production”.

    The work is in general a technical report and sales pitch for the new system.  It includes the following sections:

    Notes:

    1.  Earlier on in the mid-1920’s there were efforts of using sound in film but limited to music or very specific areas of the film, most of which in the end was silent. 

    2. The  movie was made with the Vitaphone system, which was not long for this world, soon to be replaced by the more sophisticated sound-on-film systems.

    “In 1925 GE started a program to develop commercial sound-on-film equipment based on Hoxie’s work. Unlike the Phonofilm and Movietone systems in which the audio modulated the intensity of a recording lamp which exposed the soundtrack, thus creating a variable-density track, the GE system employed a fast-acting mirror galvanoemter to create a variable-area soundtrack. A number of demonstrations of this system, now known as Photophone, were given in 1926 and 1927. The first public screenings with this system were of a sound version (music plus sound effects only) of the silent film Wings which was exhibited as a road-show in around a dozen specially equipped theatres during 1927.”–Wiki

     First page of the document, followed by the remained (44pp+26pp):

     

    RCA Photophone Recording Sysytem 1932 _1__0001

     

    ·Posted by :

    ·in: