Showing posts with label SciArt. Show all posts
Showing posts with label SciArt. Show all posts

Thursday, May 28, 2026

Our Fate is Tied To That of the Insects

Our Fate is Tied To That of The Insects, 16" x 20" linocut print by Ele Willoughby
Our Fate is Tied To That of The Insects, 16" x 20" linocut print by Ele Willoughby

 

I made this print for Manufactured Ecosystems, and people keep asking me if I could sell them one, so I finally got around to making a small series of them and putting them in my shop. These are quite labour-intensive and involve using 17 different blocks, so I made a slightly variable series rather than a strict edition, but you have a chance to get one now. 

I'm thinking of also having some archival reproductions made which I can offer at a more affordable price point, if people would like them. That way I can maybe reach more people with my pro-pollinator propaganda!

Tuesday, September 2, 2025

Recent prints and patterns and calendars!

Since completing my Manufactured Ecosystems show I made one more pollinator. This print shows a great little pollinator in the garden: a transverse-banded flower fly (Eristalis transversa) on Echinacea purpurea or purple coneflower. Because of its yellow stripes, tendency to hover (it's a hover fly after all) and love of flowers, this little insect can be mistaken for a bee, but it's a bee-mimic fly. Like the bees, it's an important pollinator and friend to flowers and gardeners. The transverse-banded flower fly and purple coneflowers are native to eastern North America. Each print is made by hand on assorted, beautiful Japanese washi papers and collaged to make the final 8" x 10" image, which are hand-embellished with posca pens.

Transverse-banded flower fly, linocut, 8" x 10" by Ele Willoughby, 2025

I've been delving into surface design, creating all sorts of repeat patterns using my prints. You can find them on fabric and wallpaper in my Spoonflower shop.

9 of my repeat patterns made with my linocut prints, arrayed in a squate
Some of my repeat patters: monarch, echinacea and black-eyed susans; clownfish and bubble anemone; radiolarians; velvet worms; crows; heart cockles; diving beetles; humpback whales and T.rex amongst the flowers.


New this year, I decided to make a postcard calendar with my terms of venery prints!

First 6 months of 2025 minouette postcard terms of venery calendar
My 2025 Terms of Venery Postcard Desk Calendar! Check it out here.


A note on tariffs:

On August 29, the US removed de minimis exceptions for imports from anywhere. A lot of small businesses worldwide are really struggling to make this work. As a Canadian, the artwork and products I sell are CUSMA-compliant; that is they are tariff-free subject the pre-existing North American free trade agreement. So, buyers in the US should that be hit with unexpected extra fees. That said, there remains a fair bit of uncertainty with how Customs will see with mail or couriered packages. I have not suspended shipments. I can get Delivered Duty Paid service to ensure that buyers don't get a nasty surprise, though I am still figuring out how that works when no Duty was due in the first place.


Wednesday, March 5, 2025

Master Geng: Chinese Alchemist Geng Xiansheng, 'Refining Snow' or Using Mercury to Extract Silver from Snow

Geng Xiansheng, linocut 9.25" x 12.5" by Ele Willoughby, 2025
Geng Xiansheng, linocut 9.25" x 12.5" by Ele Willoughby, 2025

Mercury is the final prompt for #printerSolstice2425, which again made me think of alchemy. It is an element the alchemists favoured and felt was fundamental in their efforts to transmute base metals into precious metals, both in western and Chinese alchemy (from whence the more familiar western alchemy emerged). Chinese alchemy (煉丹術 liàndānshù), a name which literally means a method for refining cinnabar, or mercury sulphide (HgS) focused on longevity (and alignment with Tao) . It can be divided into the esoteric "inner alchemy" and "external alchemy" focused on making elixirs. 

The earliest recorded woman in Chinese alchemy was Fang (Chinese: 方), who lived roughly the first century BCE and is credited with a method for turning mercury into silver. So little is known about her, and what little that is known is so tragic, that I opted for another woman alchemist associated with "turning" mercury into silver, ten centuries later.  

This is my hand-printed linocut portrait of a woman alchemist known as Master Geng who flourished some time before the year 975 (Chinese: 耿先生; pinyin: Gěng Xiānshēng; Wade–Giles: Kêng Hsien-shêng). According to legend, this daughter of a scholar named Geng Qian (sometimes spelled Keng Chhien),  was known from adolescence for her intelligence, curiosity and skill in alchemy. She appears in the writing of alchemist Wu Shu, in his book Chiang Huai I Jen Lu (or Records of Twenty-five Strange Magician-Technicians between the Yangtze and Huai River) written in 975. An expert in what was called "the art of the yellow and the white" (that is, alchemy), she distilled perfumes and was also known as a talented poet and magician. Her fame grew to the point that the Emperor Xuanzong (circa 846-859) invited her to the palace, where rather than being counted amongst the palace women, she was honoured as a scholar and given the title Master, as in teacher. She was eloquent, spoke with confidence and known for wearing green robes and for her skills in performing alchemical transformations in the Imperial Court. In particular, she was known for using mercury for "creating" silver. One story tells that she could even transform snow into silver. The Emperor wished to test her skills and noted that all her transformations employed fire  and enquired whether she could perform a transformation without it. 

"She answered, 'Let me try. It might be.' So the Emperor took some mercury and enveloped it in several layers of beaten bark-cloth, closing it with the [Imperial] seal; this she placed forthwith in her bosom. After a long time there suddenly came a sound like the tearing of a piece of silk. The Teacher [Geng Xiansheng] smiled and said: 'Your Majesty did not believe in my methods, but now you will see for yourself. Ought you not to trust me ever hereafter?' Then she handed the packet back to the Emperor who saw that the seal was unbroken and upon opening it found that the mercury had all turned to silver."

Song Dynasty scroll painting "Master Geng of the Southern Tang Dynasty refining snow'"

Modern chemists speculate that she might in fact have been using a legitimate chemical process which uses mercury to extract silver from ore. Likewise, her distilling of perfumes could have employed early prohibitive form of the Soxhlet process to continuously extract camphor into alcohol. Thus while alchemy differs from modern chemistry in aims and understanding, she would have been using some methods which we can recognize as scientific and can be seen as part of history of chemistry.

In her personal life she was known for her love of wine and romantic liaisons. 

My portrait is inspired by Song Dynasty paintings including one scroll painting called 'Master Geng of the Southern Tang Dynasty refining snow' and illustrations of alchemists and their tools like the large three-legged ting furnace in which medicines were prepared.


Detail Song Dynasty scroll painting "Master Geng of the Southern Tang Dynasty refining snow'"
Detail of Song Dynasty scroll painting "Master Geng of the Southern Tang Dynasty refining snow'"

References
Chinese alchemy, Wikipedia, accessed March, 2025
Fitzgerald, C.P. The Horizon History of China, American Publishing Co., Inc., New York, 1969.
Gordon, Robin L. Chinese Women Alchemists, Women Alchemists 2.0 website, accessed March, 2025.
Master Geng, Wikipedia, accessed March, 2025
Maxwell-Stuart, P. G. (2012-03-01). The Chemical Choir: A History of Alchemy. A&C Black. p. 13. ISBN 9781441132970.
Rayner-Canham, Marelene F.; Rayner-Canham, Marelene; Rayner-Canham, Geoffrey (2001). Women in Chemistry: Their Changing Roles from Alchemical Times to the Mid-twentieth Century. Chemical Heritage Foundation. pp. 4–5. ISBN 9780941901277.
Xin, Yang, Barnhart, Richard M., Chongzheng, Nie, Cahill, James, Shaojun, Lang and Hung, Wu. Three Thousand Years of Chinese Painting, Yale University Press, 1997


Tuesday, February 28, 2023

Kitchen Table Mathematics and the Pentagonal Tilings of Marjorie Rice

 

Marjorie Rice's Pentagonal Tilings
Marjorie Rice and her Pentagonal Tilings, linocut, 11" x 14", by Ele Willoughby, 2023

This is a linocut print of Marjorie Rice (née Jeuck, 1923–2017) who discovered four new pentagonal tilings of the Euclidian plane. Each print is 11" x 14" and printed by hand. Each of her 4 new pentagonal tilings is shown and the design on her shirt is based on her own "Butterflies" tessellation using the Type 13 pentagon (with two right angles and two sides of the same length). I made this portrait for the "pattern" prompt of #printerSolstice.

Born 100 years ago, she grew up poor in Florida, attending a one-room school house, where she skipped two grades, but college was never an option for her. She married conscientious objector Gilbert Rice in 1945 and they moved to Washington, D.C., where he worked in a military hospital and she worked as a commercial artist. They moved to San Diego with their infant son, who did not survive infancy, but went on to have five more healthy children.

Rice had no training as a mathematician, having completed half of a correspondence art course after high school, but she was always interested in mathematics, puzzles and art. She began to follow Scientific American writer and amateur mathematician Martin Gardner's monthly column, rushing to devour the magazine before her son (who had the subscription) could get it. Gardner had reported in July, 1975, in his article, "On Tessellating the Plane with Convex Polygon Tiles," that mathematician Richard Brandon Kershner had finally completed the task of finding all the remaining convex polygons which could make tessellations to tile the plane, an open mathematical problem which had intrigued thinkers since Ancient Greece. But by the next month, one of his readers, Richard James III, had reported that he had found a new convex pentagon tiler. Rice was inspired to start her own search. 

She spent her spare time discretely drawing diagrams on the kitchen table when no one was around which she hid when her husband, kids or friends stopped by. Her daughter assumed she was simply doodling, not discovering new mathematics. She succeeded in her search by February, 1976, and wrote Gardner of her new pentagon type and its variations in shape with which she could tile the plane. Lacking any math education, she had also developed her own notation system to describe shapes. Gardner forwarded Rice's letter to mathematician and tiling pattern expert Doris Schattschneider. Though she was skeptical of Marjorie's odd and unique notation system, which she likened to "hieroglyphics" Schattschneider was able to validate Rice's results. Rice did not stop there. By October she had found 58 pentagon tilings (most previously unknown) of two paired pentagons which could tile "transitively" which she categorized in 12 classes. By December she had found two more new convex pentagon tilers and 75 distinct tessellations by pentagons that were in blocks that could be seen as "double hexagons". By the following December (1977), she found her fourth convex pentagonal tiler and 103 "2-block transitive" pentagon tilings. Through the next decade she continued to find more pentagonal tiling patterns and explored aperiodic tilings and she used her discoveries to make Escher-like tessellation patterns of flowers, shells, butterflies and bees overlain on the geometric shapes (which can still be seen on her website).

Martin Gardner included Rice's discoveries in a collection of his columns 'The Mathematical Gardner', in 1988 and Doris Schattschneider’s article 'In Praise of Amateurs.' Though she was too shy to ever publish her own results or give any talks about her work, Schattschneider convinced Rice and her husband to attend her talk about Rice's work at  a meeting of the Mathematical Association of America held in Los Angeles, in 1995. When she was pointed out in the audience, she received a standing ovation! In 1996, she was the subject of a documentary on CBC's 'The Nature of Things.'

The Mathematical Association of America in Washington, D.C. had one of the ceramic tiles of one of the tilings discovered  installed in the foyer of the headquarters of 1999. Rice's papers and research notes are preserved at the Eugène Strens Recreational Mathematics Collection at the University of Calgary Library. Michaël Rao, with a computer-aided mathematical proof in 2017, established that there are a total of precisely 15 families of convex pentagons, including Rice's 4. He employed her same approach: considering how corners could come together at vertices. Rice was tickled to be recognized and loved being able to discover something new, long sought after by mathematicians 

Sources

Marjorie Rice, Wikipedia, accessed February, 2023

Marjorie Rice, Intriguing Tessellations, accessed February, 2023

Natalie Wolchover, Marjorie Rice's Secret Pentagons, Quanta Magazine Abstractions Blog, July 11, 2017

Anna Weltman, Marjorie Rice, Inspired by Math, and Subways, Math Munch, February 25, 2013

Tuesday, November 29, 2022

Barrel Cortex, and more Cyanotypes

Hendrik van der Loos linocut portrait by Ele Willoughby
Hendrik van der Loos, linocut print, 11" x 14" by Ele Willoughby, 2022


This was a custom order I made earlier this fall: A linocut of neuroscientist Hendrik Van der Loos (1929-1993) and his discovery (along with medical student Thomas Woolsey), of the barrel cortex, along with the mouse head & whiskers linked directly to it.

Some species of rodents have a region of the somatosensory cortex that was named the #barrelcortex after its shape, and which contains the barrel field. The 'barrels' of the barrel field stain darker than neighbouring regions (within cortical layer IV) when stained to reveal the presence of cytochrome c oxidase. These dark-staining regions are a major target for somatosensory inputs from the thalamus of the #brain, & each barrel corresponds to a region of the body! Most distinctively, the whisker barrels, structures were first discovered by Woolsey & Van der Loos in 1970, come in an array, similar to the way whiskers are arrayed & they hypothesized that they could be matched up & each barrel represents 1 whisker. Due to this distinctive cellular structure, organisation, & functional significance, the barrel cortex is a useful tool to understand cortical processing & has played an important role in neuroscience. The majority of what is known about corticothalamic processing comes from studying the barrel cortex, and researchers have intensively studied the barrel cortex as a model of neocortical column. The whisker barrels are the focus of the majority of barrel cortex research, and 'barrel cortex' is often used to refer primarily to the whisker barrels.


Cyanotype skeleton by Ele Willoughby
Cyanotype skeleton


Cyanotype skeletons by Ele Willoughby

I made several cyanotypes of my skeleton linocut on acetate along with leaves and wildflowers. A couple turned out quite pale and ghostly with the skeleton barely visible. So I made a linocut on top. I like the effect. It's a little eerie or dreamlike.


Wednesday, April 6, 2022

Movements in Art History Inspired Prints

 I haven't yet posted all the prints I made for #PrinterSolstice so here are some of the others!


Dada inspired linocut with spherical cow, eye, bubbles and text
Dada-inspired linocut by Ele Willoughby
This one of a kind lino block print combines multiple lino blocks in a Dada-inspired original artwork. Dada was a cultural movement post-WWI in response to the horrors of the war which often was satirical or nonsensical, breaking down all previous standards. Combining unrelated elements was common, as was the appearance of text, including of course, the repeated use of the word "Dada". It was a precursor to surrealism.

This print combines my spherical cow print, an eye and a skeleton with the repeated word "Dada" and is unique... but I made a second print with some of the same elements, but a tardigrade, rather than a skeleton.

Dada-inspired linocut by Ele Willoughby


This is a minimalist print inspired by the transit of Venus. Much like a solar eclipse, when our moon's orbit brings it between the Earth and sun, the transit of Venus occurs when the planet Venus passes directly between the sun and us (or any other planet) partially obscuring or occulting the disk of the sun. Venus is much larger than our moon, but much farther away, so it blocks a much smaller portion of the sun, for a much longer period; it typically appears like a small black dot slowly moving in a line across the face of the sun over the course of several hours. These transits are rare, but predictable. The separation between transits is: 121.5 years, 8years, 105.5 years. There have been two this century (in 2004 and 2012) and there will not be another until 2117. Historically such transits have been vital to astronomers in their efforts to gauge the size of our solar system. Astronomers travelled to remote sites across the globe to get multiple simultaneous observations of the event, and improve distance and size estimates using parallax of the various observations. 



The Transit of Venus, linocut by Ele Willoughby, 9" x11", 2022

The design of this print is inspired by Minimalism, an art movement post-WWII which espoused geometrical abstraction, and cutting away extraneous details, and sometimes even colours in favour of monochrome compositions. A hemicircle represents the solar disk and the series of smaller excised circles represent the path of Venus.

Goethe's Theory of Colours, Linocut by Ele Willoughby, 8" x 10", 2022

This print, inspired by the boldly coloured Fauvism paintings, is a hand-printed, limited edition, reduction block print portrait of writer, statesman and polymath Johann Wolfgang von Goethe (1749-1832). While best known for his contributions to German literature, he was pursued natural sciences, studying morphology, did work which presaged evolution, discovered the human intermaxillary bone, performed Galvanic experiments, studied anatomy with Alexander von Humboldt, formulated a theory of plant metamorphosis, gathered the largest private collection of minerals in Europe, and popularized a barometer he built based on Torricelli’s principle. What he considered his most important work was his Theory of Colours (Farbenlehre, 1810). 

Goethe rejected Newton’s description of colour and analytic approach. He wanted to portray rather than explain colour. He was a careful observer and claimed, “The human being himself, to the extent that he makes sound use of his senses, is the most exact physical apparatus that can exist.” He felt colour came from the interplay of light and dark through a turbid medium (like air, dust and moisture). He included aesthetic qualities such as the allegorical, symbolic, and mystic use of colour. His physics were not sound but he was the first to probe human colour perception and his insights inspired the art world (especially J. M. W. Turner) and philosopher Ludwig Wittgenstein to write ‘Remarks on Colour’. 

My portrait is based on contemporary portraits, particularly a painting of Goethe in 1828 by Joseph Karl Stieler.

Horus and Seth, mono print by Ele Willoughby, 8" x 10", 2022

This is a one of a kind mono print about the Ancient Egyptian gods Horus and Seth, representing the struggle between order and chaos. My print is inspired by the Harlem Renaissance paintings of Aaron Douglas in particular, his layers of translucent colours, silhouettes and use of ancient Egyptian (and other African) culture, myth and imagery. 

This print shows Horus battling his uncle Seth. The story of their fight is NSFW as they say, but what I like in particular is that the ancient Egyptians believed both the god Horus, who represented order, amongst other things, and Seth (or Set), who represented chaos were necessary components for life and creativity.

This print was the first one I made with my new gel plate and stencils!

Flamboyant Wormhole, linocut by Ele Willoughby, 

This is a hand-printed Lino block print of an astrophysical wormhole, linking two locations in spacetime, inspired by Op Art. A wormhole, also called an Einstein-Rosen bridge, may exist, linking points in space-time like a sort of tunnel from one space and time to another. We don't know if they actually exist, but they are consistent with General Relativity and have been the subject of a lot of theoretical physics research and sci-fi. Space time is 4D, but if we represent it on the page, we can imagine it like a flat surface and then a wormhole would be a sort of tube from one area to another with a blackhole like a sort of drain leading to a white hole. If such structures exist, they may or may not be traversable, but it's conceivable they could allow time travel or faster than light travel or travel between different universes depending on the location of each end.  

Theia, linocut print by Ele Willoughby, 8" x10", 2022

This 6 colour hand printed linocut print illustrates the formation of the Earth’s Moon in a comic book influenced pop art style. The favoured model of Moon formation is that 4.5 billion years ago, early in the history of our solar system, a Mars-sized astronomical body called Theia crashed into the early proto-Earth. Large amounts of projectiles from this catastrophic collision, both rocks from Theia and the proto-Earth’s own mantle, coalesced under gravity to form this planet’s own satellite: the Moon. The giant-collision theory is supported by moon rock samples gathered during the Apollo missions and lunar asteroids found on Earth; these rocks so similar to the Earth's chemical and isotopic make-up suggest that the Earth and Moon have some shared history and that the Moon was not simply a capture object from elsewhere. But variations in the types and proportions of minerals found in Moon rocks versus here on Earth suggest that there's more to the story and it was not simply formed simultaneously with the Earth. The Moon is rich in minerals formed at high temperatures like we would expect from a massive impact event.

We can thank this catastrophic event, sometimes called 'The Big Splash' for the world as we know it, with stable orbit and climate thanks to having such an unusually large satellite in our Moon.

Friday, June 11, 2021

Imaginary Friends of Geology

Painting by Alexander Craig during the British Association meeting in Glasgow in 1840 when Lyell was 43 years old.
Charles Lyell, by Alexander Craig in 1840 when Lyell was 43 years old.
I’m always on the lookout for new “imaginary friends of science” and periodically I ask for suggestions. My series is made of the charismatic metaphors and thought experiments through the history of science. “Imaginary friend” is a bit tongue-in-cheek but my series includes Schrödinger’s cat, Maxwell’s Demon, Laplace’s Demon, Descartes’ Demon, Russell’s Teapot, Occam’s Razor, the Spherical Cow and Hilbert’s Grand Hotel. My series is skewed towards physics (with some math and philosophy) because that’s my background. I ask for suggestions and biologists just look quizzical but I suspect other fields do this too. It's not an obvious thing to research since this is not really a recognized category of metaphor/thought-experiment, and I coined the term "imaginary friend of science" but you sort of know one when you meet them. Tell me your favourites!

Maxwell's, Laplace's and Descartes' Demons

Recently I got a suggestion from geology for my ‘imaginary friends of science’ series (hat tip to Greg Priest). This imaginary friend is a bit obscure but fits perfectly. Early geologist Charles Lyell (1797-1875), in his famous ‘Principles of Geology’ wrote that to avoid some sources of prejudice in understanding geology would require an Amphibious Being, who could, say, compare processes happening today on land and those happening today below water with what we see in the geological record. Likewise the Amphibious Being would be better able to identify fossils, being familiar with life on land and in the sea. He wrote,

It should, therefore, be remembered, that the task imposed on those who study the earth's history requires no ordinary share of discretion; for we are precluded from collating the corresponding parts of the system of things as it exists now, and as it existed at former periods. If we were inhabitants of another element—if the great ocean were our domain, instead of the narrow limits of the land, our difficulties would be considerably lessened; while, on the other hand, there can be little doubt, although the reader may, perhaps, smile at the bare suggestion of such an idea, that an amphibious being, who should possess our faculties, would still more easily arrive at sound theoretical opinions in geology, since he might behold, on the one hand, the decomposition of rocks in the atmosphere, or the transportation of matter by running water; and, on the other, examine the deposition of sediment in the sea, and the imbedding of animal and vegetable remains in new strata. He might ascertain, by direct observation, the action of a mountain torrent, as well as of a marine current; might compare the products of volcanoes poured out upon the land with those ejected beneath the waters; and might mark, on the one hand, the growth of the forest, and, on the other, that of the coral reef. 

-Charles Lyell, 'Principles of Geology' 9th ed. 1853

James Hutton during fieldwork, by John Kay

He actually goes on to further propose other biases could be avoided only if one could live also in the subterranean world, and hence, a further imaginary friend, "some "dusky melancholy sprite," like Umbriel, who could "flit on sooty pinions to the central earth," but who was never permitted to "sully the fair face of light," and emerge into the regions of water and of air" but such a sprite would have biases due to his lack of access to life on land or in the sea! Here I'm just going to consider the Amphibious Being. 

 

 

 

 

 

 

The Geologist - Carl Spitzweg, circa 1860
The Geologist - Carl Spitzweg, circa 1860
While far less well-known than say, Maxwell's Demon or Schroedinger's Cat, the Amphibious Being absolutely performs the same purpose. He's a figment of Lyell's imagination who serves to elucidate and explore a problem in science. The Amphibious Being highlights the possibility that our conclusions about the origins of rocks or fossils  are biased since we only live on land, the same way Maxwell's Demon explores the mysterious nature of the Second Law of Thermodynamics or Schroedinger's Cat exposes the strangeness of the probabilistic nature of quantum mechanics and what that would mean if we saw it in the every day world of large things like well, cats, rather than the subatomic scale. So I plan to add the Amphibious Being to my collection.

Rise of Mr. de Saussure to the summit of Mont Blanc, aquarellée engraving of Christian of Mechel (1737- 1817).

Professor Owen, by Frederick Watty in Cartoon Portraits and Biographical Sketches of Men of the Day (1873)

My question is, what would such an Amphibious Being look like? I made my Demons (Maxwell's, Laplace's and Descartes') ressemble those who introduced them with some additional features like horns. There are a lot of images of Lyell at various ages. He is always wearing a suit, with a magnifying glass or monocle on a chain around his neck.  There are sadly no images of him in the field. I tried to find some images of early geologists or Victorian geologists in particular. It's easy to find depictions of James Hutton (1726-1797) in the field, but not Lyell. Even searching for Victorian geologists in general proved hard. The vast majority of paintings or later photographs show middle class men in suits at home. There are some hilariously heroic posed images of geologists with hammers looking like Classical heroes. I was pleased so see images of Mary Anning, Alice Wilson and other trail-blazing women in geology come up in my search. The Rise of Mr. de Saussure to the summit of Mont Blanc, an aquarellée engraving of Christian of Mechel (1737- 1817), shows that geologists of Lyell's time did in fact where suits in the field, and some of the simple tools they employed: walking sticks, rakes, shovels and packs of supplies. There are also a number of photographs of somewhat scruffier Gold Rush geologists in California or the Yukon. Along with simple tools, geological hammers, magnifying glasses, and collecting bags are common. I wondered also about Victorian caricatures? I have seen cariactures of various well-known historical scientists (even if scientists seem to rarely be the sort of recognizable public figure to appear in cartoons today). So I looked up cariatures of Charles Lyell and was not disappointed.

The caricature by De la Beches of Charles Lyell as Prof. Ichthyosaurus on the pages of Francis Trevelyan Buckland (Son of William B.). "Curiosities of Natural History".
'Awful Changes' - Caricature of Charles Lyell as Prof. Ichthyosaurus, by geologist Henry De la Beche (1796 -1855) on the pages of Francis Trevelyan Buckland (Son of William B.). "Curiosities of Natural History".



Ichthyosaurus caricature published in 1885 in the Punch magazine. The discovery of ichthyosaurus fossils lead to interest in reportings of sea monsters, including for Charles Lyell who wanted to support his idea that animals did not become extict, only rare. He wisely did not include this idea in his geology textbook. (via History of Geology)


The Professor Ichthyosaurus, though an actual, contemporary and amusing cariature of Lyell as a being, which in the cartoon at least, appears amphibious, isn't quite what I want. The itchyosaurus was a marine reptile, not an amphibian. The lecture setting does not suggest fieldwork, nor any greater insight into geology because of its amphibious nature. 

Henry de la Beche, incidentally, famously painted the first paleoart scene, Duria Antiquior, based largely on his friend Mary Anning's findings and he sold lithographic prints of his painting to raise funds to help support her. I thought of him as more modern and kind, in his loyalty and friendship with Mary Anning, a paleontologist who was largely excluded due to her sex, class and religion. But in researching this my opinion of him fell. While he understood slavery was an abomination, since his own income depended on an enheirtance of a sugar plantation in Jamaica worked by enslaved people, he (guiltily) opposed abolition in favour of in favour of gradual change. 'This is wrong but let's not be too hasty' is not an ethical stance.


Duria Antiquior – A more Ancient Dorset is a watercolour painted in 1830 by the geologist Henry De la Beche


And what about the all-important "amphibious" part of my Amphibious Being? My first thought was salmanders. I love the look of gill-stalks and perhaps they suggested Lyell's substantial sideburns. I find the axolotl looks quite anthropomorphic as it is (as reflected in Julio Cortazar's short story, Axolotl).  The axolotl is of course limited in range to Mexico, and though other salamanders go through a larval stage with gill-stalks, this didn't feel quite right or in any way an allusion to Lyell. My next thought was to look at Victorian cariatures of anthropomorphic frogs, which (for reasons I don't entirely understand) was very much a thing. Frog men cariatures and Christmas cards and other illustrations, sometimes to satirize society are pretty common, so I thought that was just the thing.





I am now sketching a Victorian frog-man geologist for my next Imaginary Friends of Science print!

Wednesday, June 9, 2021

Hilbert's Grand Hotel

 

Hilbert's Grand Hotel, 8" x 10", linocut by Ele Willoughby, 2021

My latest linocut print illustrates the paradox of Hilbert's Grand Hotel, a thought experiment conceived by the great mathematician David Hilbert (1862-1943) in 1924 to show the paradox of infinite sets. If you imagine a regular hotel with a finite number of rooms, if they are all filled you can't add more guests. In an imaginary infinite hotel however, guests are always welcome! Even if all the (conveniently numbered 1, 2, 3, ...) rooms are filled, you simply shuffle all the guests over one room and make room for the next guest. You can repeat this argument for one more guest, two more guests, three more guests, ...infinity more guest... infinity groups of infinite guests, etcetera!

The print shows a grand hotel on a steep angle (with a vanishing point at infinity of course), labelled "Hilbert's Grand Hotel" below a cameo of Hilbert himself, and the slogan "No vancancy. Check in now!" Above the hotel is a glowing infinity symbol. The size of countably infinite sets, like all natural numbers {1,2,3, .... ∞ } is denoted by Aleph Nought ℵ0 shown on the two flags.

Tuesday, March 3, 2020

Loons and Snowy Owls, wildlife in black and white


The loon, linocut on Japanese paper, 9.5" x 12", by Ele Willoughby 2020

Between getting pneumonia and the school strikes, I feel like I've not had as much time as I would like so far in 2020 and I am behind where I would like to be. On the other hand I have several projects on the go! I have plans to make art with more varied media this year. I'm starting with some textiles but also working on some more 3D works and more electronics. Got some collaborations in the works too. I'm starting with some black and white animals and exploring how to combine different black and white prints.

Snowy Owl, linocut on Japanese paper, 11" x 14" by Ele Willoughby 2020

The black and white animals will do double duty on my quilt in progress. I thought I would try something (moreorless) monochromatic. I'm learning that black and white can be busier than the most colourful piece I've made and that combining these patterns is new challenge.





Thursday, January 16, 2020

Finding our predecessors as women in STEM, Pitfalls and Mistaken Identity of Merit Ptah

Merit Ptah, Chief Physician, linocut by Ele Willoughby, 11" x 14", 2018
An astronomy professor of mine memorably told our class that Tycho Brahe lost his nose in a dwell over a "woman of ill repute" - while colourful, this isn't true. The aristocrat Brahe was not supposed to marry a commoner, but he did, and she, like his sister, was involved in his scientific enterprise and does not deserve to be remembered vaguely and inaccurately as a "woman of ill repute".

Being a woman on the Internet, sometimes I receive none-too-polite "corrections" to history of science I present. Once I posted on Twitter about Marie Tharp and how she found the Mid-Atlantic ridge. I got a blunt reply from a professor of crystallography that this knowledge predates her by centuries. He was wrong. He was confusing knowledge of the rise (the geographic feature indeed known in broad strokes for centuries) with knowledge of the ridge (which is a geophysical feature where we now know new crust is born) which helped usher in the plate tectonics revolution in the latter part of the twentieth century. The fact that my doctorate in marine geophysics is a lot closer in subject matter than his did not protect me from being chastised, publicly, and wrongly. But, I am keenly aware that scientists themselves are not always the most accurate re-tellers of the history of science, and that we can fall into the pitfalls of repeating misinformation provided by fellow scientists. Sometimes, we can't resist a good story.

I was once told one of my scientist portraits was "an insult" because, though I had used several references, my anonymous critic has correctly inferred I had included a portrait of the subject's sister-in-law (which can be commonly found online, mislabelled as the scientist herself). While dismayed, I don't think this strident critic was reasonable or communicating productively. I used the incorrectly labelled portrait mainly as a reference for her clothing, so I think my error is regretable but not historically misleading. Sadly this critic's antagonism is all too common online.

In complete contrast, I'm quite impressed at the kindness and consideration of a recent message I received from medical historian Jakub Kwiecinski who has been researching Merit Ptah, reputedly the earliest recorded woman in medicine and subject of one of my portraits. He wrote me to say though he's a fan of my portrait (and has bought two), he's quite certain she didn't exist! He generously assumed I suspected as much. To be honest, I did not, but as I wrote about her here I was clear that information about her online was surprisingly thin, repetitive and often inaccurate. I had seen that the same information was repeated again and again, without ever seeming to find anything independent. I had also noted that there were no credible images of her, which seemed weird since there was allegedly an inscription about her made by her son. I also noted the existence of other documented near-contemporary ancient Egyptian doctors. I hadn't concluded that in fact this self-referential nest of authors citing each other was all perpetuating an untrue story. He included his article on the subject, where he carefully traces all information about her back to a single source from almost a century ago. He explains why it appeared that there were independent sources and gives a very credible explanation how the author who introduced her, Canadian feminist medical doctor Kate Campbell Hurd-Mead, likely made an innocent error, misinterpreting a report and conflating two people. The healer and Overseer of Healer Woman that did exist was  Peseshet (5th Dynasty, 2465-2323, later than supposed for Merit Ptah). Since the name, tomb location and date were confused with someone a bit earlier, that gave "Merit Ptah" priority. Kwiecinski's article is one half detective story, showing how all online sources and even published popular histories are interconnected and link back to Hurd-Mead and how she likely misinterpreted a report about Peseshet. The second half is a study of the role of popular histories, and how "Merit Ptah" became a feminist hero. While pointing out the dangers of secondary sources, and how amateur historians or scientists seeking female predecessors in their fields have different interests than historians (none of whom had written about Merit Ptah) the article doesn't chastise those who did write about Merit Ptah. Instead, it documents how the supposed existence of this doctor, has been very important to contemporary women in science and medicine. I, and this blog, actually make a cameo appearance in his article. As mentioned in footnote 87, my post was apparently the only one he found which cast doubt on Merit Ptah, pointing out that online images that purport to be her are clearly mislabelled (either men, or another woman who was named Merit Ptah who lived a full millennium later).  I'm tickled to have been cited in this scholarly publication for actually looking at online images and information with a critical eye!

The article 'Merit Ptah, “The First Woman Physician”: Crafting of a Feminist History with an Ancient Egyptian Setting' in the Journal of the History of Medicine and Allied Sciences is paywalled though the abstract is here. But the story has been picked up by the press, for instance this National Post article where Kwiecinski argues, “She is a very real symbol of the 20th-century feministic struggle to write women back into the history books, and to open medicine and STEM to women.”

So now, I have to figure out what to do with my portrait. As a print, I think it works. But, I don't want to perpetuate misconceptions. I could reimagine her as a symbol of legendary predecessors, of the feminist drive to point out that women did play a role in many historical endeavours, including science, though they have been left out of the story, rather than a portrait of an actual documented individual. I could also revise the print, change the hieroglyphics and making my Old Kingdom female doctor into Peseshet. Interestingly, I was able to find the actual inscription about Peseshet online. What to do when your historical portrait turns out to be of an imaginary person is an interesting problem. I think I might do both. I will continue to make the remaining Merit Ptah prints available, with a new description and I may also carve a new ancient Egyptian incription and print a second print with my doctor with real text which was written about a real woman Peseshet. What would you do?

Depiction of the Stela of the lady Peseshet from John F. Nunn, Acient Egyptian Medicine,
University of Oklahoma Press, 2002