Whiplash

The dwarf reed snake escapes predators by leaping into a continuous cartwheel that’s four times as fast as slithering.

“The acrobatics involved in rolling are a fascinating example of how much snakes can accomplish with their limbless bodies,” Toho University ecologist Yosuke Kojima told the New York Times.

“It’s nice to be surprised by weird snake behaviour occasionally,” said herpetologist Frank Burbrink. “It is truly remarkable and probably fairly arresting for any predators that encounter these little guys.”

(Yosuke Kojima, et al., “Locomotor Kinematics and Head Stabilization in Rolling Snakes,” Current Biology 36:20 [Oct. 19, 2026], R1061-R1063. Thanks, Sharon.)

O Vitae Philosophia Dux!

A “hymn to science,” by English physician Mark Akenside, from the Gentleman’s Magazine, 1739:

Science! thou fair effusive ray
From the great source of mental day,
Free, generous, and refin’d!
Descend with all thy treasures fraught,
Illumine each bewilder’d thought,
And bless my lab’ring mind.

But first with thy resistless light,
Disperse those phantoms from my sight,
Those mimic shades of thee;
The scholiast’s learning, sophist’s cant,
The visionary bigot’s rant,
The monk’s philosophy.

O! let thy powerful charms impart
The patient head, the candid heart,
Devoted to thy sway;
Which no weak passions e’er mislead,
Which still with dauntless steps proceed
Where Reason points the way.

Give me to learn each secret cause;
Let number’s, figure’s, motion’s laws
Reveal’d before me stand;
These to great Nature’s scenes apply,
And round the globe, and thro’ the sky,
Disclose her working hand.

Next, to thy nobler search resign’d,
The busy, restless, human mind
Thro’ ev’ry maze pursue;
Detect Perception where it lies,
Catch the ideas as they rise,
And all their changes view.

Say from what simple springs began
The vast, ambitious thoughts of man,
Which range beyond control;
Which seek Eternity to trace,
Dive thro’ th’ infinity of space,
And strain to grasp the whole.

Her secret stores let Memory tell,
Bid Fancy quit her fairy cell,
In all her colours drest;
While prompt her sallies to control,
Reason, the judge, recalls the soul
To Truth’s severest test.

Then launch thro’ Being’s wide extent;
Let the fair scale, with just ascent,
And cautious steps, be trod;
And from the dead, corporeal mass,
Thro’ each progressive order pass
To Instinct, Reason, God.

There, Science! veil thy daring eye;
Nor dive too deep, nor soar too high,
In that divine abyss;
To Faith content thy beams to lend,
Her hopes t’ assure, her steps befriend,
And light her way to bliss.

Then downwards take thy flight agen;
Mix with the policies of men,
And social nature’s ties:
The plan, the genius of each state,
Its interest and its pow’rs relate,
Its fortunes and its rise.

Thro’ private life pursue thy course,
Trace every action to its source,
And means and motives weigh:
Put tempers, passions in the scale,
Mark what degrees in each prevail,
And fix the doubtful sway.

That last, best effort of thy skill,
To form the life, and rule the will,
Propitious pow’r! impart:
Teach me to cool my passion’s fires,
Make me the judge of my desires,
The master of my heart.

Raise me above the vulgar’s breath,
Pursuit of fortune, fear of death,
And all in life that’s mean.
Still true to reason be my plan,
Still let my action speak the man,
Thro’ every various scene.

Hail! queen of manners, light of truth;
Hail! charm of age, and guide of youth;
Sweet refuge of distress:
In business, thou! exact, polite;
Thou giv’st Retirement its delight,
Prosperity its grace.

Of wealth, pow’r, freedom, thou! the cause;
Foundress of order, cities, laws,
Of arts inventress, thou!
Without thee what were human kind?
How vast their wants, their thoughts how blind!
Their joys how mean! how few!

Sun of the soul! thy beams unveil!
Let others spread the daring sail,
On Fortune’s faithless sea;
While undeluded, happier I
From the vain tumult timely fly,
And sit in peace with thee.

Noted

A curiosity from DePauw University mathematician Underwood Dudley: Arrange the six permutations of 1, 2, 3 in ascending order and find the differences of successive pairs:

123   132   213   231   312  321
    9     81    18    81    9

The top row totals 1,332, the bottom row 198. Arrange the first nine digits of π in triplets and add 198 to each:

314 159 265
198 198 198
--- --- ---
512 357 463

The three sums total 1,332.

(Underwood Dudley, “What to Do When the Trisector Comes,” Mathematical Intelligencer 5:1 [March 1983], 20-26, via Martin Gardner’s Whys & Wherefores, 1989.)

Plagiarism

https://pixabay.com/en/natural-starry-sky-night-view-2065714/

In a randomly infinite Universe, any event occurring here and now with finite probability must be occurring simultaneously at an infinite number of other sites in the Universe. It is hard to evaluate this idea any further, but one thing is certain: if it is true then it is certainly not original!

— John Barrow and Frank Tipler, The Anthropic Cosmological Principle, 1986

Zoology

https://archive.org/details/the-historie-of-foure-footed-beastes-1607/page/454/mode/2up

Description of the Lyon in Edward Topsell’s 1607 bestiary The History of Four-Footed Beasts:

Lyons bones have no marrow in them and are so hard that they will strike fire. Their neck is made of one stiffe bone, without any vertebras. They have five claws on the hinder feet and the balls of their eyes are black. Lyons eat but once in two days, and drink in like manner. Formerly in England a Lyon could tell noble blood from base. There is a variety of Lyon with human faces. As for the rest, the taile of a Lyon is very long, which they shake oftentimes, and by beating their sides therewith they provoke themselves to fight. The nether part of this taile is full of hairs and gristles, and some are of opinion that there is therein a little sting wherewithall the Lyon pricketh itselfe.

He adds, “I would not have the Reader … imagine I have … related all that is ever said of these Beasts, but only [what] is said by many.”

Tic-Tac-Don’t

http://etc.usf.edu/clipart/42700/42768/cubes-6_42768.htm

With best play on both sides, conventional tic-tac-toe (noughts and crosses) is always a draw. Played in three dimensions, though, in a 3×3×3 cube, it’s always a win for whichever player manages to take the central cell. In fact, a draw is impossible — there’s no way to fill the “board” with 14 crosses and 13 noughts without completing one or more winning paths.

What if we reverse the object so that the first player to complete such a path loses? Interestingly, in that case seizing the center cell is still the best strategy. Thereafter, whichever cell the second player chooses, the first player should take the cell diametrically opposite. Obviously this can’t create a winning triple that passes through the center, but neither can it create a triple that doesn’t pass through the center, because the second player would necessarily just have completed such a triple himself on the opposite side of the cube.

“So the first player cannot lose,” writes mathematician Solomon Golomb. “Thus, because no draws are possible on the 3×3×3 ‘board,’ he must win!”

(This is similar to the first player’s strategy in Henry Dudeney’s cigar puzzle.)

(Solomon W. Golomb, “Martin Gardner and Ticktacktoe,” in Erik D. Demaine, Martin L. Demaine, and Tom Rodgers, eds., A Lifetime of Puzzles, 2008.)

To Be Precise

https://commons.wikimedia.org/wiki/File:VanGogh-starry_night_ballance1.jpg

On what date did Vincent van Gogh paint his 1889 masterpiece The Starry Night? Earlier studies had placed the creation in mid-June of that year, based on a letter the artist had written to his brother Theo around June 18. But Kyung Hee University doctoral candidate Elijah Jeong-hyun Kim noted that an observer in that period should have seen a waning gibbous moon, not the crescent seen in the painting.

Intrigued, he began to compare astronomical simulations, weather records, and van Gogh’s other writings. A better estimate of the scene’s creation, he says, is dawn on July 22, 1889. On that date the crescent moon, Venus, and the Hyades star cluster in the constellation Taurus would have been visible from van Gogh’s window in southern France, and the recorded hot weather would have inspired the cicadas the artist mentions in a letter.

Kim’s article appears in the journal Scientific Reports. “Our conversation with Van Gogh’s other skies is still ongoing,” he told Popular Science. “We plan to tell those stories one by one.”

(Texas State University “forensic astronomer” Donald W. Olson has done similar work, estimating for example that the scene below depicts Le Havre harbor as seen from Claude Monet’s hotel room at 7:35 a.m. on Nov. 13, 1872.) (Thanks, Sharon.)

https://commons.wikimedia.org/wiki/File:Claude_Monet,_Impression,_soleil_levant.jpg

A Late Addition

Holst’s The Planets premiered in 1918, 12 years before Pluto was discovered.

So in 2000 Colin Matthews wrote an eighth movement, “Pluto, the Renewer,” to complete the cycle.

(I’m not sure of its status since 2006, when the International Astronomical Union reclassified Pluto a dwarf planet.)

Singing Lessons

https://commons.wikimedia.org/wiki/File:TICO-TICO_(Zonotrichia_capensis_)_(2195772708).jpg
Image: Wikimedia Commons

When the local population of rufous-collared sparrows dwindled in Buenos Aires, scientists found an innovative way to teach mating calls to younger birds: They consulted hand-drawn annotations of sparrow songs that had been made in the 1960s and used a computer to broadcast simulated versions in local habitats. Within three months a local bird was heard copying parts of the song. Similar efforts have succeeded in England and Australia, and scientists are beginning to stockpile databases of birdsong to aid future generations. “One day we’ll be grateful to have all those records,” physicist Gabriel Mindlin told the Guardian.

Birds mimicking human technology: Technical Fowl, Pitching In, Ghosts of Scotland. (Thanks, Sharon.)