Letizia Ramolino was born in 1750. In her 85 years of life she gave birth to Napoleon Bonaparte, saw the French monarchy collapse, witnessed the French Revolution, and saw her son crowned emperor. Then she saw his death, the collapse of his empire, and the restoration of the monarchy.
She died in 1836, 15 years after her most famous son.
In Season 8, Episode 7 of Penn & Teller’s magic competition show Fool Us, magician Hans Petter Secker appears to predict the outcome of three successive rounds of rock-paper-scissors, though Secker oversees the game remotely from Norway and the players are invited to exchange items before each round. How is this accomplished?
Dodgers outfielder Gary Thomasson was a big disappointment in Japan — in 1980 he was signed to the Yomiuri Giants for a record-breaking sum, then nearly set a record for strikeouts before injuring his knee and retiring.
Artist Akasegawa Genpei took a strange inspiration from this: He defined a “Thomasson” as “an object, part of a building, that was maintained in good condition, but with no purpose, to the point of becoming a work of art.” For example, in Tokyo he’d noticed a well-maintained stairway with a blank wall at its top, and a ticket window that had been boarded up but whose tray had been assiduously permitted still to function.
Akasegawa’s colleague Chikuma Shobo eventually published a whole taxonomy of Thomassons: useless doorways, useless staircases, useless windows, doors to nowhere, senseless signs. Just like art, these items have no purpose in society, but they’re preserved with care, to the point that they seem to be exhibits in themselves. “However, these objects do not appear to have a creator, making them even more art-like than regular art.”
In 1990, University of Houston English professor Earl Dachslager wrote to the New York Times “to settle once and for all the debate over the first references in print to the game of baseball.” He had found 11 in Shakespeare:
“I trust that the question of who first wrote about baseball is now finally settled.”
Artist François Abelanet created this perspective-based illusion outside the city hall in Paris in 2011. Ninety gardeners worked for five days to prepare an area of 1500 square meters.
Abelanet called it Qui croire? (Who to Believe?).
nutation
n. the action of nodding, esp. as a sign of drowsiness
Your beloved daughter is spending the summer at a Japanese monastery. On July 28 you receive a letter from an administrator, dated July 19, saying that she needs to have her wisdom teeth removed. The availability of drugs is not certain: She’ll either have a relatively painful extraction on July 27 or an unpleasant but painless one on July 29. Learning of this situation from afar, which drug would you prefer to have been available?
Now imagine that you receive the letter on July 26 and jet to her bedside. You arrive on July 28 to find her asleep. She seems a little restless, but you don’t know whether that’s because she had a painful extraction yesterday or because she’s anxious about having an unpleasant one tomorrow. Now which do you prefer?
“I find that the large majority of people to whom I present these cases say that they would prefer, in the first case, for their daughter to have the merely unpleasant operation on the 29th, and, in the second case, for their daughter to have had the painful operation on the 27th,” writes MIT philosopher Caspar Hare. “Furthermore, in each case they feel that it makes sense to have the preference, given the way in which it is appropriate to care about a daughter. While they would be loath to condemn a parent with different preferences, they feel that such a parent would be making a kind of mistake.” Why should this be?
(Caspar Hare, “A Puzzle About Other-Directed Time Bias,” Australasian Journal of Philosophy 86:2 [June 2008], 269-277.)
Thomas More’s Utopia gives us not only a description of that imaginary land but the actual alphabet used there: More’s friend Peter Giles wrote an addendum to the book that presents the letters and gives an example of the Utopian writing system:
Vtopos ha Boccas peu la chama polta chamaan.
Bargol he maglomi Baccan foma gymno sophaon.
Agrama gymnosophon labarembacha bodamilomin.
Voluala barchin heman la lauoluola dramme pagloni.
This is translated into Latin as
Utopus me dux ex non insula fecit insulam.
Una ego terrarum omnium absque philosophia
Civitatem philosophicam expressi mortalibus
Libenter impartio mea, non gravatim accipio meliora.
And in English this becomes
The commander Utopus made me into an island out of a non-island.
I alone of all nations, without philosophy,
Have portrayed for mortals the philosophical city.
Freely I impart my benefits; not unwillingly I accept whatever is better.
Working backward, this makes it possible to divine the meaning of a few Utopian words: boccas is commander, chama is island, voluala is willingly, and gymnosophaon is philosophy. You couldn’t really talk about much beyond perfect societies, but maybe that’s the point.
The earliest photograph of a human figure on paper is “The Footman” by William Henry Fox Talbot, from 1840. Footmen came in several varieties; an early breed that quickly went extinct was the running footman, who would advance as a herald before his master’s carriage and also deliver urgent dispatches. In What the Butler Saw, E.S. Turner gives some amazing examples:
“In London the fourth Duke of Queensberry (‘Old Q’) continued to employ running footmen until his death in 1810. He would try out applicants in Piccadilly, lending them his livery for the occasion, and then stand watch in hand on his balcony to time their performance. There is a story that he said to one candidate: ‘You will do very well for me.’ The reply was, ‘And your livery will do very well for me,’ with which the runner bolted.”
Just a charming little anecdote: When German chemist Adolf von Baeyer achieved a long-sought result, he tipped his hat to it:
Eventually, however, even Baeyer was supersaturated with these hydrogenations, and the sorely tried assistants hailed with deep relief the transference of his interest to succinylsuccinic ester and diketocyclohexane. By means of a dodge (‘Kunstgriff’) of which Baeyer was very proud (treatment with sodium amalgam in presence of sodium bicarbonate), the diketone was reduced to quinitol. At the first glimpse of the crystals of the new substance Baeyer ceremoniously raised his hat!
It must be explained here that the Master’s famous greenish-black hat plays the part of a perpetual epithet in Prof. Rupe’s narrative. As the celebrated sword-pommel to Paracelsus, so this romantic hard-hitter or ‘alte Melone’ to Baeyer: the former was said to contain the vital mercury of the mediaeval philosophers; the latter certainly enshrined one of the keenest chemical intellects of the modern world. … Baeyer’s head was normally covered. Only in moments of unusual excitement or elation did the Chef remove his hat: apart from such occasions his shiny pate remained in permanent eclipse.
(From his colleague John Read’s 1947 book Humour and Humanism in Chemistry.)
