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Learning to Spot AI Text

Today is my second online ESL (English as a Second Language) class for the ’25-’26 school year. I assist a more experienced teacher once a week — have been doing so for nearly ten years. One task she likes me to do is to go over the writing homework that students put on an edublog.

Lately, it feels like these otherwise highly motivated adults may not be learning much about writing English. Often they seem to have copied from Google Translate or another AI program. What I want to see is a few mistakes in their answers. At the same time, I am wary of accusing anyone of not doing their own work.

Today’s article didn’t give me a clear answer to my ESL situation, but I was intrigued to learn about programs that help identify who the real writer of a book was or whether AI was used in a journal article.

Roger J. Kreuz, associate dean and professor of psychology, University of Memphis, writes at the Conversation that although it’s common to use chatbots “to write computer codesummarize articles and books, or solicit advice … chatbots are also employed to quickly generate text from scratch, with some users passing off the words as their own.

“This has, not surprisingly, created headaches for teachers tasked with evaluating their students’ written work. It’s also created issues for people seeking advice on forums like Reddit, or consulting product reviews before making a purchase.

“Over the past few years, researchers have been exploring whether it’s even possible to distinguish human writing from artificial intelligence-generated text. … Research participants recruited for a 2021 online study, for example, were unable to distinguish between human- and ChatGPT-generated stories, news articles and recipes.

“Language experts fare no better. In a 2023 study, editorial board members for top linguistics journals were unable to determine which article abstracts had been written by humans and which were generated by ChatGPT. And a 2024 study found that 94% of undergraduate exams written by ChatGPT went undetected by graders at a British university. …

“A commonly held belief is that rare or unusual words can serve as ‘tells’ regarding authorship, just as a poker player might somehow give away that they hold a winning hand.

“Researchers have, in fact, documented a dramatic increase in relatively uncommon words, such as ‘delves’ or ‘crucial,’ in articles published in scientific journals over the past couple of years. This suggests that unusual terms could serve as tells that generative AI has been used. It also implies that some researchers are actively using bots to write or edit parts of their submissions to academic journals. …

“In another study, researchers asked people about characteristics they associate with chatbot-generated text. Many participants pointed to the excessive use of em dashes – an elongated dash used to set off text or serve as a break in thought – as one marker of computer-generated output. But even in this study, the participants’ rate of AI detection was only marginally better than chance.

“Given such poor performance, why do so many people believe that em dashes are a clear tell for chatbots? Perhaps it’s because this form of punctuation is primarily employed by experienced writers. In other words, people may believe that writing that is ‘too good’ must be artificially generated.

“But if people can’t intuitively tell the difference, perhaps there are other methods for determining human versus artificial authorship.

“Some answers may be found in the field of stylometry, in which researchers employ statistical methods to detect variations in the writing styles of authors.

“I’m a cognitive scientist who authored a book on the history of stylometric techniques. In it, I document how researchers developed methods to establish authorship in contested cases, or to determine who may have written anonymous texts.

“One tool for determining authorship was proposed by the Australian scholar John Burrows. He developed Burrows’ Delta, a computerized technique that examines the relative frequency of common words, as opposed to rare ones, that appear in different texts.

“It may seem counterintuitive to think that someone’s use of words like ‘the,’ ‘and’ or ‘to’ can determine authorship, but the technique has been impressively effective.

“Burrows’ Delta, for example, was used to establish that Ruth Plumly Thompson, L. Frank Baum’s successor, was the author of a disputed book in the Wizard of Oz series. It was also used to determine that love letters attributed to Confederate Gen. George Pickett were actually the inventions of his widow, LaSalle Corbell Pickett.

“A major drawback of Burrows’ Delta and similar techniques is that they require a fairly large amount of text to reliably distinguish between authors. A 2016 study found that at least 1,000 words from each author may be required. A relatively short student essay, therefore, wouldn’t provide enough input for a statistical technique to work its attribution magic.

“More recent work has made use of what are known as BERT language models, which are trained on large amounts of human- and chatbot-generated text. The models learn the patterns that are common in each type of writing, and they can be much more discriminating than people: The best ones are between 80% and 98% accurate.

“However, these machine-learning models are ‘black boxes’ – that is, we don’t really know which features of texts are responsible for their impressive abilities. Researchers are actively trying to find ways to make sense of them, but for now, it isn’t clear whether the models are detecting specific, reliable signals that humans can look for on their own.

“Another challenge for identifying bot-generated text is that the models themselves are constantly changing – sometimes in major ways.

“Early in 2025, for example, users began to express concerns that ChatGPT had become overly obsequious, with mundane queries deemed ‘amazing’ or ‘fantastic.’ OpenAI addressed the issue by rolling back some changes it had made.

“Of course, the writing style of a human author may change over time as well, but it typically does so more gradually.

“At some point, I wondered what the bots had to say for themselves. I asked ChatGPT-4o: ‘How can I tell if some prose was generated by ChatGPT? Does it have any “tells,” such as characteristic word choice or punctuation?’

“[It provided] me with a 10-item list, replete with examples. These included the use of hedges – words like ‘often’ and ‘generally’ – as well as redundancy, an overreliance on lists and a ‘polished, neutral tone.’ It did mention ‘predictable vocabulary,’ which included certain adjectives such as ‘significant’ and ‘notable,’ along with academic terms like ‘implication’ and ‘complexity.’ However, though it noted that these features of chatbot-generated text are common, it concluded that ‘none are definitive on their own.’ ” More at the Conversation, here.

If I were in the room with students, I could more or less stand over them and see how they go about writing. But these are adults, after all, and they want to learn, so the goal is to persuade them how learning is more likely to happen. Let me know if you have ideas that could help me.

Photo: NiemanLab.
A late private equity bid to disrupt the sale of the Dallas Morning News to Hearst was foiled by a fourth-generation newspaper owner turning down more money.

Some days journalism and free speech seem threatened on every hand. Whether its officials trying to control what is said or hedge funds buying up newspapers to wring them dry, a girl could get depressed.

Today’s story is about how one newspaper escaped disaster at the eleventh hour.

Joshua Benton at NiemanLab gives his views on what happened. As a former employee of the paper he’s writing about, he gets pretty worked up, but his take is interesting. It reminds me that not all shareholders are greedy. It also reminds that usually they are.

“By now, it’s a familiar move to watchers of Alden Global Capital, the ravenous hedge fund with the unusual hobby of sucking the lifeblood out of newspapers.

“See, Alden likes to wait until a newspaper merger or acquisition is juuuuust about consummated. Then, right before the final papers get signed, it swoops in with a late bid that promises the seller a bigger payday. Respectable newspaper owners don’t love the idea of selling to Alden, whose relish for laying off journalists is well known. They’ve sometimes built entire strategies around selling to anyone but Alden. But in the tense final hours of a deal, it can be difficult to explain to shareholders why, exactly, they should turn down a few extra million.

“It’s smart: wait until some other buyer has kicked the tires and run the numbers to come up with a valuation. If Random Newspaper Company thinks it can profitably run a paper at the price of $𝑥 million, surely Alden can run it profitably at $(𝑥 × 1.2) million. All it’ll take is 20% more cuts — and that’s Alden’s specialty.

“Sometimes it works. In 2018, just before a bankruptcy auction for the Boston Herald, Alden announced its intentions to bid, offering more than double the stalking horse bid made by rival GateHouse. Alden got what it wanted. …

“After a few comparatively quiet years, Alden opened up its playbook again six days ago when it announced a bid for the Dallas Morning News, offering $88 million. This came 12 days after the Morning News had taken itself off the market by announcing it would be acquired by Hearst for $75 million. …

“This time Alden won’t get the prize — because of one particular shareholder. This morning, the DallasNews Corporation (formerly A.H. Belo) announced that its board had “reviewed and rejected” Alden’s offer. …

” ‘DallasNews Corporation controlling shareholder Robert W. Decherd, a great-grandson of co-founder George Bannerman Dealey, sent a letter Friday to his former company’s board emphatically stating his complete commitment to the Hearst merger.’ …

“The Morning News was objectively one of the most appealing solo newspapers left for a chain to snare. For one thing, North Texas continues to boom in population. The Metroplex’s population has grown by 2.9 million people since I started there 25 years ago. (For context, that’s equivalent to adding the entire Denver metro area to a place that already had 5.2 million people.)

“But the DMN is also appealing because it hasn’t been gutted as much as most other metro newspapers in its weight class. To be clear: It’s been cut — a lot. When I started there, the newsroom had more than 600 people and bureaus around the world. Today, newsroom headcount is at 157 people. That’s not 600, of course. But 157 is significantly larger than Alden’s (roughly) 70 at the Orange County Register50 at the Denver Post, or 50 at the Orlando Sentinel.

“For a chain thinking for the long term — like still family–controlled Hearst — that relative strength makes the Morning News an asset worth investing in. But it also makes the DMN appealing to a raider like Alden, for a very different reason: Taking over a bigger newsroom means more opportunities for cuts. …

“It’s easy to over-romanticize the days of family ownership of newspapers. The Dealey–Decherd family has been running the Dallas Morning News, in one way or another, since 1885. Over that century-plus, there’s plenty to complain about. … But there’s a simple grace to how that era of stewardship is ending. Robert Decherd turned down several million dollars to keep his family’s newspaper out of Alden’s hands. I’m not sure how many newspaper owners would do that today — but I’m glad the number is at least one.”

More at NiemanLab, here.

Photo: David Levene/The Guardian.
Olivier Mathieu in Yoann Bourgeois’s “Touch.”

Today’s story is about trampoline choreography, which looks to me a bit like using the flying trapeze without a net.

But who am I to talk? Growing up, we had a trampoline on the porch with no kind of protection. A low, wood ceiling overhead. A concrete floor below. Sometimes I wonder how we managed to grow up at all.

Lyndsey Winship writes at the Guardian, “You may have seen a certain video online of a man climbing some stairs. Actually, he’s repeatedly falling from them but then magically bounces back up, weightless as a moon-walker. Out of sight is a trampoline, which gently catapults his looping, twisting body up the staircase each time he falls, turning a would-be simple journey into an epic, poetic odyssey that has caught the internet’s imagination. Pop star Pink saw it and immediately got on the phone to its creator; Martin Short even made his own version on Only Murders in the Building.

“The act is the work of French choreographer-director Yoann Bourgeois, 43, whose live performances have been touring festivals for years. But the popularity of his videos online has propelled him into new realms. …

“Some people run away to the circus; others have it arrive on their doorstep. Bourgeois’ parents separated when he was growing up in Jura, eastern France, and their house was sold to a circus group, Cirque Plume. Bourgeois was already interested in theatre (and later studied dance) and he began to train with the group. ‘In a way I was looking for a way to get back home,’ he says, via a translator. … ‘I really wanted to continue to be a child. I’ve searched for a life where I can continue to play.’ …

“What Bourgeois plays with are the invisible physical forces that surround us – gravity, tension, suspension – and the interaction between those forces, the performers’ bodies and symbolic ideas. For example in ‘Ellipse,’ the dancers are in costumes like lifesize Weebles with semi-circular bases, rocking and spinning, but never falling. … In ‘Celui Qui Tombe (He Who Falls),’ the performers stand on a wooden platform that rotates, at some speed, then tilts, forcing their bodies to lean at precarious angles to keep their balance. …

“The short piece Bourgeois is bringing to London is called ‘Passage,’ and features a revolving mirrored door and pole dancer Yvonne Smink hanging, swinging, balancing and turning the simple act of crossing a threshold into something of infinite possibilities. Much like the way sculptor Antony Gormley hit upon a universal idea in his use of the body, Bourgeois works with the same kind of directness. …

“Here he is talking about suspension: ‘In physics, suspension means the absence of weight. But if we speak about time, suspension means absolute presence. And I think this cross between absence of weight and absolute presence is like a small window on eternity. That’s what I search for: to catch the present, to intensify the present.’

“Even though Bourgeois seeks to be live in the ephemeral moment, you can see why the recorded versions have gone viral. He admits his work looks good on screen. …

“He’s reaching even more eyeballs now with his pop star collaborations. For the Harry Styles video ‘As It Was,’ Bourgeois designed another revolving platform that saw Styles and his lover being pulled together and apart. ‘Behind the superficial pop veneer of the song, there’s a great sense of despair,’ he says.

“Bourgeois designs his own stage machines, but the revolving floor is, he points out, a very old theatrical device. The question of what’s truly new in art came to the fore when he was accused of plagiarism in a video posted online comparing scenes from his work with scenes from other artists. There are some striking similarities, but Bourgeois is robust in his defense, saying that the works referenced motifs from the history of art, which he considers to be in the public domain. Many circus performers will use the same props. ‘If you use just a frame of a video, it’s easy to make a comparison,’ he says. ‘What is original is the treatment and the creative process.’ …

“What’s certain is that Bourgeois can turn universal ideas into something eye-catching that connects deeply with audiences – imbued with the wonder of circus and the grace of dance.”

More at the Guardian, here.

Photo: Alex Hecht for the New York Times.
A team helps Hunter Noack and his piano travel to scenic locations to give his concerts an outdoor vibe.

What I’m wondering as I read today’s story about classical piano in the great outdoors is whether the project is more about bringing nature into the concert experience or about attracting new audiences. Doesn’t it draw traditional concertgoers? Besides the whale, that is.

Sopan Deb reports at the New York Times that “for the last decade, the classical pianist Hunter Noack has been embarking on an unusual journey: He hauls a thousand-pound 1912 Steinway concert grand piano to places in the outdoors not known for hosting concerts. …

“This summer, Noack, 36, is in the midst of a 10th-anniversary tour of his ‘In A Landscape’ project, which has taken him to Jack London State Historic Park in Glen Ellen, Calif.; Black Butte Ranch in Sisters, Ore.; and Warm Springs Preserve in Ketchum, Idaho. …

“Inspired by the preservationist John Muir, Noack started the project as a way of getting closer to nature, and bringing classical music to rural areas where it is not typically accessible. The idea, Noack said, is to remove the barriers that typically limit classical music to concert venues like Carnegie Hall.

“ ‘What John Muir was trying to articulate is that we don’t just need the wild to recreate in,’ Noack said in an interview. ‘We need the wild to be human, and to be more compassionate, and to be more empathetic. And that’s the medicine that I needed. To be outside.’

“The roots of the project can be traced back to 2015. Noack, a native of Sunriver, Ore., had just moved to Portland, a couple of years after graduating from the Guildhall School of Music in London. He was working odd jobs and struggling with student debt. He considered joining the National Guard, but instead applied for a small grant from a regional arts and culture council in Portland to try an experiment. …

“After graduating from college, Noack, along with a friend from boarding school, created an immersive play in San Francisco. In London, Noack eagerly took in shows by the experimental theater company Punchdrunk.

“ ‘These theater and opera companies were really pushing the boundaries, and that’s what I wanted to do with my art: classical piano,’ Noack said.

“A traveling group of six helps Noack bring his piano to the various remote locations. The team has developed a system for moving the nine-foot instrument. The piano sits on a custom-designed 16-foot flatbed trailer, and can go anywhere that a four-wheel-drive vehicle can. Once they have arrived at a destination, the trailer turns into the stage.

“The first year, Noack rented a piano from a local dealer. But when he said he wanted to bring the rented piano to Mount Bachelor, in Bend, Ore., and the Alvord Desert, in the southeastern part of the state, the dealer did not want to take on the insurance liability. Afterward, in 2017, a philanthropist purchased and donated the piano that Noack uses today.

“Noack didn’t intend for ‘In A Landscape’ to be a full-time job, but the initial audience response was so large that he kept going. … The concerts are held rain or shine, hot or cold. (The temperature during concerts has ranged from subfreezing to above 100 degrees.)

“Among the notable locales where Noack has played are the entrance to Yellowstone (via the Roosevelt Arch in Montana), Joshua Tree National Park in California, Crater Lake in southern Oregon and Banff National Park in Canada. …

“Noack’s shows have even appeared to attract wildlife. He recalled that at a two-night run near the Oregon coast, the piano was located near a cliff. A whale swam up to shore for both performances and lingered for their entirety.

“ ‘I like to think that the whale was enjoying this show,’ Noack said.

“Among other wildlife that made appearances were free-range horses, birds and deer.

“Noack’s ambition to bring a piano to unfamiliar territory is expansive. He said he wants to perform at, among other striking sites, remote villages in Canada; at the Preikestolen, a steep cliff in Norway; during a safari in Africa; atop Vinicunca, the rainbow mountain in the Andes of Peru; and by the salt flats of Bolivia.

“ ‘My hope is that I can use this project, my love of the music and my curiosity about how public lands and natural resources are managed, to explore the world and learn,’ Noack said.”

More at the Times, here.

Photo: Maxine Wallace/The Washington Post.
Books with decorated page edges (spredge) are becoming increasingly popular.

Although I always liked the designs on the edge of pages in fancy, old-time books, I never thought about all the ways you can use so-called “spredges” to convey the appeal of your book in the bookshop.

Sophia Nguyen writes at the Washington Post that the phenomenon has recently gained adherents.

“Sumptuous fore-edges — sprayed a bright color, stenciled with city skylines, made to look like pointy teeth — used to be relatively rare. But in recent years, publishers have brought decorated edges to the masses. Edge-painted books are now so widespread that you can find them at Walmart. The feature has spread from romance and fantasy to horror, thrillers and even literary fiction; it’s spread from works by famous authors with ravenous followings to those by debut novelists hoping to make a splash. It even has a (horrifying) portmanteau: spredges. On social media, readers show off floor-to-ceiling shelves crammed full of these books — spines facing inward, of course.

“Jim Sorensen, president of Lakeside Book Company, the largest book manufacturer in North America, recalled the time a decade ago, when a colleague brought back edge-printing samples from a work trip to Europe. ‘Honestly, there wasn’t a whole lot of interest’ from clients, Sorensen said. Times have changed. …

“The surge was driven by a few corners of the publishing world. Subscription companies, such as LitJoy Crate and Illumicrate, seeded interest (and a sense of exclusivity) among readers as they printed relatively small runs that quickly sold out. Self-published authors, selling special editions of their books on their personal websites or at conventions, also helped to popularize the look. This prompted publishers to invest in the trend. When, in 2023, Bloom Books sprayed the pages of Elle Kennedy’s Off-Campus novels in powder blue, the set hit the bestseller lists — an unusual success for a collector’s bundle. …

“Barnes & Noble, after seeing the trend take off with the exclusive editions sold by its sister chain Waterstones, now devotes an entire section of its website to decorated, stenciled and sprayed edges. Decorated edges have ‘developed into an extension of the book experience itself,’ said Shannon DeVito, director of books at Barnes & Noble.

“The printed-edge craze has also opened up a new business niche. Inspired by DIY videos, Stephanie Moreno launched an edge-painting service this year, including live painting at author events. What, after all, could be more limited than an edition only offered at a single local signing? …

“For designers, the edge gives a whole new surface to play with and another opportunity to make a book recognizable. ‘From a creative standpoint, it’s thrilling,’ said Molly Waxman, executive director of marketing for adult fiction and nonfiction at Sourcebooks. Logistically, there were some kinks to work out, she added — such as building in time for ink to dry, so pages don’t curl unattractively.

“As printed edges have flooded into stores, ramping up the competition for eyeballs, ‘the bigger race is being able to manage all of these specs and still hold a price point that’s not going to be so difficult for a consumer,’ [Bloom editorial director Christa] Désir said. …

“When, in the 1500s, people in the English-speaking world started storing their books upright and on shelves — moving them from chests and lecterns — they stored them just as many TikTokers do: with pages facing out. Title information was printed there in ink, said Mark Purcell, director for research and collections at Cambridge University’s libraries and archives.

“Then, starting around the early 1600s in England, modish bookbinders started gilding titles on the spines of books, and so collectors started to reverse their displays. The practice spread gradually and unevenly over a century-and-a-half in what’s called ‘the Great Turnaround.’ 

“ ‘It depends where you are, how up-to-date you are, how fashionable you are, how wealthy you are, what your library is like, all sorts of things,’ Purcell said. …

“He did note one possible practical consideration favoring the old way: Some libraries threaded chains through their collections for security reasons, and the system only worked with the pages facing out.”

More at the Post, here.

Tooth-in-Eye Surgery

Photo: Phil Chapman.
Dr. Greg Moloney, left, and Brent Chapman talk before the second stage of Chapman’s tooth-in-eye surgery.

Today’s story is about a fascinating kind of surgery for a very specific kind of eye problem. It came about because surgeons needed a hard material that patients’ immune systems wouldn’t reject. Surprisingly, it’s been used since the 1960s.

A. Pawlowski reports the story at Today.

“Brent Chapman can see again,” she writes, “after doctors pulled out one of his teeth, flattened it, drilled a hole in it, placed a lens inside and implanted the tooth in one of his eyes. It seems bizarre, but the complex operation — informally known as tooth-in-eye surgery — can help restore vision in patients with the most severe forms of corneal blindness.

” ‘It kind of sounded a little science fictiony. I was like, “Who thought of this?” Like this is so crazy,’ Chapman, 34, who lives in North Vancouver, British Columbia, tells TODAY.com about his first impression of the concept.

“ ‘Usually, the reaction is shock and surprise and frank disbelief that it even exists,’ says Dr. Greg Moloney, his eye surgeon and an ophthalmologist at Providence Health Care’s Mount Saint Joseph Hospital in Vancouver. The technique was developed in the 1960s, and Moloney estimates several hundred people around the world have undergone the procedure.

“It’s for patients who have a healthy back of the eye, but have suffered severe damage to the front of the eye — the cornea — from a chemical burn, a fire or explosion, or an autoimmune reaction where the immune system attacks the eye.

“In those cases, doctors need a way to restore a clear window to the back of the eye — like changing a severely damaged windshield in a car, Moloney says.

“It turns out a tooth with a lens implanted in the eye is the solution.

“Chapman was 13 years old when he lost his vision. He was playing in a high school basketball tournament, felt a little ill and took a couple of ibuprofen pain relievers. Healthy until then, Chapman had a life-threatening skin reaction to the medication known as Stevens-Johnson syndrome.

“In a coma for 27 days, Chapman recovered, but his eyes were forever impacted. His left eye is irreversibly blind, while his right eye suffered severe damage to the cornea. He spent the next 20 years traveling the world trying different procedures to preserve any vision he had left, including 10 cornea transplants. But they worked only for a short period of time. …

“Humans have been trying for hundreds of years to figure out how to put an artificial cornea on the front of an eyeball — the biggest issue is getting it to stay in place so that the body doesn’t reject it, Moloney notes. A patient’s own tooth solves that problem.

It’s a hard structure that can survive in this harsh environment, and the body understands it as part of itself, allowing it to grow into place, the doctor explains. …

“The ideal candidate for tooth-in-eye surgery — officially known as osteo-odonto-keratoprosthesis — is blind in both eyes from a disease that has affected the surface of the eye, but still has a healthy optic nerve and retina.

“The first stage of the two-step operation took place in February when Chapman had one of his teeth pulled. It had to be a healthy tooth that’s ‘bigger and then quite robust in order to hold the lens,’ Dr. Ben Kang, his oral surgeon, tells TODAY.com.

“He extracted one of Chapman’s upper canine teeth, then shaped and flattened it down with a drill so that it became rectangular. A hole drilled in the middle of the structure allowed the lens to be installed inside. …

“The tooth was then put back into Chapman’s cheek and implanted in a fat pocket underneath his eye for three months so that the body could grow tissue around it. Moloney would use it to stitch and anchor the structure to the front of his patient’s right eye.

“That second stage of the surgery took place in June. After waking up, Chapman could see hand motions right away, but it took a couple of months for his eye to heal after the surgery and for his vision to sharpen.

“ ‘We tried some glasses and I had this moment where I was like, wow, OK, I’m really seeing well now,’ Chapman recalls. ‘Dr. Maloney and I made eye contact, and it was quite emotional. I hadn’t really made eye contact in 20 years.’ “

Read more at Today, here, and still more at Wikipedia, here.

Photo:  Shereefdeen Ahmad.
“Today you do not play as rivals, but as brothers,” a match organizer tells the men from Nigeria and Benin.

One of the worst things about colonialism is the way it arbitrarily separates ethnic groups and plunks families down in different countries. Today we see how a sport is bringing relatives back together.

Shereefdeen Ahmad writes for the Christian Science Monitor, “It’s game day at the village soccer field, and spectators bunch along the sidelines with banners and drums to support their teams.

“They watch as the captains of the two squads walk to the center of the field for a coin flip to determine who kicks off first. …

“This match is part of a festival celebrating the culture of the Borgu, an ethnic group that straddles the border between Benin and its eastern neighbor, Nigeria. The teams and fans gathered here today have come from both countries, part of an effort to use soccer to bridge the divide imposed by colonial powers more than a century ago.

“ ‘I believe that football can reconnect us beyond those lines,’ says organizer Adam Kabirou, who regularly hosts cross-border matches.

“Mr. Kabirou grew up hearing stories about the Borgu kingdom, a civilization tracing its roots to the late 15th century. He also learned how colonial powers carved up his people’s lands in the late 19th century, splitting the Borgu between present-day Benin and Nigeria.

“Today, the majority of Borgu, approximately 1.4 million, reside in Benin, with a smaller population in Nigeria.

“As a child, Mr. Kabirou saw firsthand how that border created a rift between his community and the Borgu people living just 15 miles away on the other side. For one thing, the two groups often literally didn’t have the words to speak to one another.

Borgu in Nigeria learned English, the colonial language there, while Borgu in Benin spoke French, the language of their former rulers.

“These languages mingled with Batonu, the Borgu language, changing the way it was spoken on each side of the border.

“Meanwhile, Western-style schooling in both countries had pushed the Borgu people away from their shared customs and traditions, says Lafia Hussaini, a Borgu ethnographer and adjunct lecturer at the Centre for Cultural Studies and Creative Arts at the University of Ilorin in Nigeria. [Simultaneously] the border created an administrative division that made close ties practically difficult. …

“Sometimes the division even cut through a single community. For instance, half of the village of Chikanda sits in Benin, the other half in Nigeria. The difference is most clear at night. Electric lights illuminate the houses on the Beninese side of the border, while the Nigerian side, which doesn’t have an electricity connection, is dark.

“Over the years, Mr. Kabirou, a farmer, occasionally attended cross-border soccer matches, and saw how the game shrank the distances between the two communities. So in 2022, he decided to organize a tournament.

“In its most recent edition, in 2024, the Tournoi Brassage Culturel – the Cultural Blend Tournament – drew five teams from Nigeria and 15 from Benin. Mr. Kabirou estimates that more than 4,000 fans attended the final match between Gwanara, Nigeria, and Tchatchou, Benin.

“For the players who participate in these matches, the importance stretches beyond soccer.

“Bashiru Adamu, a Nigerian player, says he barely knew his paternal family in Benin before crossing the border to play a match here in 2023. Now, whenever he comes to play a game, he pays them a visit as well. …

“Today, there are three separate tournaments bringing together Borgu teams from Nigeria and Benin. … They have been important not only for the players, but for spectators as well.

“Watching these matches ‘has really brought us together,’ says Souaibou Seko, a resident of Nikki, Benin. In addition to the soccer itself, he says, he appreciates the cultural performances from Borgu artists that often take place before matches or at halftime.

“These performances ‘stress our newfound cultural unity,’ says Sanni Sika Gounoun, chairman of the organizing committee for the Solidarity Tournament. ‘This camaraderie is growing organically.’ “

This article is published in collaboration with Egab,” which focuses on stories from lesser known areas.

More at the Monitor, here.

Photo: Kaitlyn Dolan/The Washington Post.
An autograph book so huge it takes two people to carry was assembled by Joseph Mikulec of Oroslavje, Croatia. It was a hit in the US a century ago, then forgotten.

Today’s story is about how one man turned his wanderlust into a pilgrimage that captured the imagination of so many people that his travels paid for themselves. A century later, the autographs documenting those travels are feeding the dreams of his tiny Croatian village.

Petula Dvorak reports the story for the Washington Post.

“Viktor Šimunić snap-snapped the metal latches on the security case shut to keep the precious book safe. … About a foot thick, the book is leather-bound and worn. The pages crackle, and it looks like a magical book of spells from a fairy tale. It weighs about 60 pounds and cost the small town that purchased it nearly a quarter-million dollars.

“ ‘It is history of that time,’ said Šimunić, the mayor of the Croatian town that bought the book. ‘And it is about a dream.’

“It is the autograph book of Joseph Mikulec, a humble farmer who set off from the Croatian town of Oroslavje to see the world in 1901. He became a global sensation, followed by news reporters, featured in newsreels and welcomed by dignitaries. He visited at least 33 countries, traveling more than 200,000 miles — all on foot, with the book in tow: in a bag, on his shoulder, and eventually in its own custom-made stroller. …

“Mikulec died in 1933, his story and his book largely forgotten over the past 100 years, until two things happened:

“Šimunić, the 34-year-old mayor of Oroslavje who traveled the world before returning to his hometown, heard about Mikulec from a local teacher two years ago. He was riveted by the story, the élan and hubris of someone from his sleepy, 14th-century village.

“Unbeknownst to Šimunić, across the Atlantic, a rare-manuscript dealer named Nathan Raab was puzzling over the remarkable leather book held together with a thick leather horse strap, which a man had lugged into his Philadelphia office in 2021.

“The man was a descendant of the ACME grocery magnate who bought it from Mikulec in 1925. Raab was unsure what exactly it was, but guessed it had a tremendous backstory.

“Cracking open the well-worn spine revealed a time capsule.

“ ‘I take pleasure in giving this letter to Joseph F. Mikulec as evidence he called at the White House on this day,’ says the Feb. 1, 1915, entry by President Woodrow Wilson, one of six U.S. presidents who signed Mikulec’s book.

“Mussolini, Ford, Tesla, Edison, King Edward VIII and British Prime Minister David Lloyd George were among 60,000 others who stopped whatever important business they were doing to sign the autograph book.

“It became Mikulec’s life mission. As he became increasingly famous, world leaders, artists and luminaries from Egypt to New Zealand were thrilled to sign what was becoming a global ‘Who’s Who.’ Some wrote full letters and included stamps, seals and photos.

“It was a time when [usually] all it took was Mikulec’s charisma to get past one grumpy guard.

“ ‘I walked up to 10 Downing Street, London, the other day,’ Mikulec told the Evening Star in December 1919. He wanted to see Prime Minister David Lloyd George, but he was out and Mikulec left his book for him to sign.

“ ‘When I came back the autographs of most of the cabinet were in my book, and there were two photographers waiting to snap me on the way out,’ he said.

“Mikulec gave lectures, bringing the world to the people who shared his wanderlust. He funded his adventures by charging admission to some of his story hours and selling postcards of himself to his legions of fans. …

“ ‘I would say he was like an archetype of today’s influencer or travel blogger,’ said Roberto Kuleš, president of Oroslavje’s city council and a member of the five-man delegation that traveled to the East Coast last week to buy the book from Raab as part of a grand plan. …

“Mikulec was born in 1878 to a poor farmer who lived near Oroslavje, a small town on the outskirts of Zagreb. He was expected to work in the fields. But he declared his wanderlust in his youth. …

“The townsfolk told the dreamer: ‘“’You must get married. You must have children. You must stay home. You must work and be ordinary,’ Šimunić said.

“Mikulec managed to leave his family farm in 1901 to work in Italy and Malta. When his father died in 1905, the 27-year-old hopped on a steamboat to South Africa to begin a trip that would last nearly three decades. From there, he went to South America, where he camped in rainforests and survived on wild fruit, roots and nuts. …

“His lectures included ‘the tale of the snake that stabbed him near Matildas, of the Indian woman who pummeled him in Argentine, of Roosevelt and Wilson as they talked to him, of the bones of the whale on the Brazilian coast so enormous he could barely lift one rib, of Moros whose chests were so roughened by climbing shaggy trees that they looked like crocodiles, the Detroit Free Press wrote in June 1919. …

“There were actually three books in total — the other two much smaller. One that had been with Mikulec’s distant family is on display in the Croatian History Museum in Zagreb, which acquired it in 2023. Croatian historians had been buzzing at the news that the biggest book, the one presumed gone, surfaced in Philadelphia.

“As Šimunić learned more about Mikulec’s story, he was inspired by the global impact a farmer from a small village had made. He commissioned a statue of Mikulec with the book on his shoulder. And he longed to buy the biggest book, the famous one in Philadelphia.

“He called Raab and asked for a digital copy of the pages.

“ ‘I told him, you don’t know me, I’m a little mayor from a little city,’ he said. ‘But we have good intentions.’ …

“It was electrifying to finally see the book last week in Philadelphia, Šimunić said. Raab said he, too, was moved by the moment. ‘It’s touching for us to know that it’s going back home,’ he said in his company’s podcast episode about the book. ‘Where it belongs.’ “

More at the Post, here.

Photos: Ivan Vdovin/Alamy; Lyn Alweis/The Denver Post, via Getty Images.
With no known contemporaneous sketches or paintings of Sacagawea, artists have largely invented her look, even as historians have invented her story by relying on Lewis and Clark’s misunderstandings.

In a long article at the New York Times Magazine, Christopher Cox writes about researchers trying to piece together the real story of Sacagawea. Will these more-accurate accounts stick? As I learned when reading Josephine Tey’s mystery The Daughter of Time, truth may be “the daughter of time,” but popular legends are often too stubborn to die.

Cox writes, “In a conference room in the middle of the Great Plains, 50 people gathered to correct what they saw as a grave error in the historical record. It was July 16, 2015, on the Fort Berthold Indian Reservation in North Dakota, not too far upstream from the camp on the Missouri River where Meriwether Lewis and William Clark first met Sacagawea, the teenage girl who would accompany them to the Pacific Ocean and back.

“The story of that journey has been told many times: in the journals that Lewis and Clark kept; in more than a century of academic histories; and in countless more fanciful works that have turned the expedition, and Sacagawea’s supposed role as guide to the Americans, into one of the country’s foundational myths. The people in the conference room, members of three closely related tribes, the Mandans, the Hidatsas and the Arikaras, thought basically all of it was nonsense.

“Jerome Dancing Bull, a Hidatsa elder, took the microphone first. … ‘They got it all wrong!’ he told the people in the room, referring to the bare-bones, truncated life sketched out for Sacagawea by Lewis and Clark and the historians who followed them. In that telling, Sacagawea was born a member of the Shoshone tribe in present-day Idaho, was kidnapped by the Hidatsa as a child, spent most of 1805 and 1806 with the expedition and died in 1812, while she was still in her 20s. The Hidatsas insist that she was a member of their tribe all along and died more than 50 years later, in 1869. And not of old age, either: She was shot to death.

“History has always been a process; it has also long attracted partisans who insist that its judgments should be frozen in time. … Sacagawea long ago left the realm of the apolitical dead. Over the years, she has been pressed into service as an avatar of patient humility or assertive feminism, of American expansionism or Indigenous rights, of Jeffersonian derring-do or native wisdom. …

“The Hidatsas’ portrait of Sacagawea is both richer and more ambiguous than the one found in standard histories. By adding decades to her life, they have changed its meaning: The journey to the Pacific, rather than the whole of her existence, becomes a two-year blip in a story that stretches across the 19th century, from the opening of the Western frontier to the Civil War and beyond. Almost all those years were spent back where Lewis and Clark found her, among the Hidatsa.

“The meeting at Fort Berthold was organized by Dennis and Sandra Fox, married scholars who worked for the education division at the Bureau of Indian Affairs. Dennis is a direct descendant of Cedar Woman, whom the Hidatsas believed was Sacagawea’s daughter, born some 30 years after the Lewis and Clark expedition ended. He has heard about his famous ancestor since he was a boy, an oral tradition that included direct observations of her life long after her supposed death. That memory of her, he knew, was at risk of being lost. …

“The Foxes invited tribal historians and Hidatsa elders, many of whom believed themselves to be Sacagawea’s descendants, to speak. Everyone who participated got a Pendleton blanket. ‘It was a long day because we let everybody tell their stories,’ Sandra said. The discussion repeatedly veered away from the historical accounts of Sacagawea herself to more personal stories of what followed, in particular how the tribe’s memories of her had been suppressed in government and public schools. There she was called Sacajawea, with a J, and she was a Shoshone. …

“Some of those present wanted to make a film putting forward their version of Sacagawea’s life. But Gerard Baker, a former superintendent of the National Park Service’s Lewis and Clark trail, suggested that a book might be a better approach. ‘The first thing we learned in academia,’ he said, ‘is if we see something written, we believe it.’

“It was an early hint of a theme that would come to define the work that followed: the long-running historical debate over the relative value of oral and documentary evidence. In the moment, though, no one doubted Baker’s judgment. The tribal government agreed to fund research toward a book, with Dennis and Sandra Fox managing the project. The initial grant was for $30,000.

“Before the meeting ended, the Foxes chose five Hidatsa elders to serve as an advisory board: Baker, Calvin Grinnell, Bernie Fox, Wanda Sheppard and Carol Newman. Though the book would be credited to them, as the Sacagawea Project Board of the Mandan, Hidatsa and Arikara Nation, it was Dennis and Sandra who would do most of the writing. …

The board members themselves were important sources. Newman, one of the last surviving native speakers of Hidatsa, had polio as a child, which meant she spent an unusual amount of time among elder caregivers. From them she learned not only about Sacagawea’s life but also about the whole deep history of the Hidatsas, a tribe of farmers and buffalo hunters that, together with the Mandans and Arikaras, dominated trade on the Great Plains before the arrival of the Europeans. In passing along these oral histories, Newman was careful to cite her sources, most notably Philip Snow, her grandfather. ‘He’d describe it in our language,’ she said, ‘and I could see it.’

“Ultimately, the process of researching, writing and publishing the book stretched over six years and would cost some $250,000. ‘There were many nights when we thought, What have we done?’ Sandra said. ‘This story is just too complicated for anybody to understand.’ By 2020, though, they had a manuscript ready.

“The Foxes sent the book to a few independent and university presses but were dispirited by the responses. Even in written form, no one seemed to take their testimonies seriously. They felt themselves at a dead end and worried that the book might never reach the public. To the project board, it was a familiar result. … ‘the century-long efforts of the Hidatsa to overcome the power of the Lewis and Clark journals.’

“Academic historians have come a long way since, as E.H. Carr put it, they treated the past like a collection of facts ‘available to the historian in documents, inscriptions and so on, like fish on the fishmonger’s slab.’ For Lewis and Clark scholars, though, the journals have an irresistible pull that no oral history can match: an illustrated, contemporaneous, day-by-day account of the journey. ‘It’s something you can put your hand on,’ said Gary Moulton, the editor of the definitive version of the journals. ‘You can trace its lineage.’ …

“After a year of trying, in 2021, the Sacagawea Project Board found a small press in California, the Paragon Agency, that agreed to publish the book, with a long title drawn from Dancing Bull’s speech at Fort Berthold: ‘Our Story of Eagle Woman: Sacagawea: They Got It Wrong.’ In one of the few reviews the book received, Thomas Powers, the author of a well-regarded book about Crazy Horse, wrote, ‘One way or another, every future history’ of Sacagawea ‘will have to take it into account.’ ”

Lots more at the Times Magazine, here.

Photo:The Metropolitan Museum of Art.
Google’s Aeneas AI program proposes words to fill the gaps in worn and damaged artifacts. 

Whenever I start to worry that Google has too much power, it does something useful. Today’s story is about its artificial intelligence program Aeneas, which can make a guess about half-obliterated letters in ancient inscriptions.

Ian Sample, science editor at the Guardian, writes, “In addition to sanitation, medicine, education, wine, public order, irrigation, roads, a freshwater system and public health, the Romans also produced a lot of inscriptions.

“Making sense of the ancient texts can be a slog for scholars, but a new artificial intelligence tool from Google DeepMind aims to ease the process. Named Aeneas after the mythical Trojan hero, the program predicts where and when inscriptions were made and makes suggestions where words are missing.

“Historians who put the program through its paces said it transformed their work by helping them identify similar inscriptions to those they were studying, a crucial step for setting the texts in context, and proposing words to fill the inevitable gaps in worn and damaged artifacts.

” ‘Aeneas helps historians interpret, attribute and restore fragmentary Latin texts,’ said Dr Thea Sommerschield, a historian at the University of Nottingham who developed Aeneas with the tech firm. …

“Inscriptions are among the most important records of life in the ancient world. The most elaborate can cover monument walls, but many more take the form of decrees from emperors, political graffiti, love poems, business records, epitaphs on tombs and writings on everyday life. Scholars estimate that about 1,500 new inscriptions are found every year. …

“But there is a problem. The texts are often broken into pieces or so ravaged by time that parts are illegible. And many inscribed objects have been scattered over the years, making their origins uncertain.

“The Google team led by Yannis Assael worked with historians to create an AI tool that would aid the research process. The program is trained on an enormous database of nearly 200,000 known inscriptions, amounting to 16m characters.

“Aeneas takes text, and in some cases images, from the inscription being studied and draws on its training to build a list of related inscriptions from 7th century BC to 8th century AD. Rather than merely searching for similar words, the AI identifies and links inscriptions through deeper historical connections. …

“The AI can assign study texts to one of 62 Roman provinces and estimate when it was written to within 13 years. It also provides potential words to fill in any gaps, though this has only been tested on known inscriptions where text is blocked out.

“In a test … Aeneas analyzed inscriptions on a votive altar from Mogontiacum, now Mainz in Germany, and revealed through subtle linguistic similarities how it had been influenced by an older votive altar in the region. ‘Those were jaw-dropping moments for us,’ said Sommerschield. Details are published in Nature. …

“In a collaboration, 23 historians used Aeneas to analyze Latin inscriptions. The context provided by the tool was helpful in 90% of cases. “’t promises to be transformative,’ said Mary Beard, a professor of classics at the University of Cambridge.

“Jonathan Prag, a co-author and professor of ancient history at the University of Oxford, said Aeneas could be run on the existing corpus of inscriptions to see if the interpretations could be improved. He added that Aeneas would enable a wider range of people to work on the texts.

“ ‘The only way you can do it without a tool like this is by building up an enormous personal knowledge or having access to an enormous library,’ he said. ‘But you do need to be able to use it critically.’ “

More at the Guardian, here. Please remember that this free news outlet needs donations.

Photo: Elisabeth von Boch/Stanford.
The MingKwai typewriter, crucial to the development of modern Chinese computing, has resurfaced. Its keys enable the typist to find and retrieve Chinese characters.

I love stories about finding long-lost treasures. The story of this old typewriter, the only one of its kind ever made, fits that category.

Emily Feng writes at National Public Radio (NPR), “Scholars in the U.S., Taiwan and China are buzzing about the discovery of an old typewriter, because the long-lost machine is part of the origin story of modern Chinese computing — and central to ongoing questions about the politics of language.

“China’s entry into modern computing was critical in allowing the country to become the technological powerhouse it is today. But before this, some of the brightest Chinese minds of the 20th century had to figure out a way to harness the complex pictographs that make up written Chinese into a typewriter, and later, a computer.

“One man succeeded more than any other before him. His name was Lin Yutang, a noted linguist and writer from southern China. He made just one prototype of his Chinese typewriter, which he dubbed the MingKwai. …

“Detailed U.S. patent records and diagrams of the typewriter from the 1940s are public, but the physical prototype went missing. Scholars assumed it was lost to history.

” ‘I had really, truly thought it was gone,’ says Thomas Mullaney, a history professor at Stanford University who has studied Chinese computing for two decades and is the author of The Chinese Typewriter.

Mullaney was at a conference last year when he got a message that someone in upstate New York had found a strange machine in their basement and posted a picture of it on Facebook.

” ‘It was a sleepless night.’ …

“Eventually, the owner reached out to him. They had acquired the typewriter from a relative who had worked at Mergenthaler Linotype, once of the most prominent U.S. makers of typesetting machines. The company helped craft the only known prototype of the MingKwai typewriter. …

” ‘It’s like a family member showing up at your doorstep and you had just assumed you would never see them,’ Mullaney says.

“The story of why such a typewriter even exists runs parallel to the political upheaval and conflict over Chinese identity and politics in the 20th century.

“Lin, its inventor, was born in 1895 in southern China during the tail end of a failing Qing dynasty. Student activists and radical thinkers were desperate to reform and strengthen China. Some proposed dismantling traditional Chinese culture in favor of Western science and technology, even eliminating Chinese characters altogether in favor of a Roman alphabet.

” ‘Lin Yutang charted a path right down the middle,’ says Chia-Fang Tsai, the director of the Lin Yutang House, a foundation set up in Taiwan to commemorate the linguist’s work. …

“Typing Chinese was a monumental challenge. Chinese has no alphabet. Instead, it uses tens of thousands of pictographs. When Lin started his work in the early 20th century, there was no standardized version of Mandarin Chinese. Instead, people spoke hundreds of dialects and languages, meaning there was no singular phonetic spelling of the sound of each word.

“Lin had financial backing from the American writer Pearl S. Buck to create the typewriter, but he also sunk much of his own savings into the project as costs ballooned.

” ‘He’d spent a lot of money. A lot,’ says Jill Lai Miller, Lin’s granddaughter. …

“The typewriter’s ingenuity comes from the way Lin decided to break down Chinese pictographs: by their shapes, not sounds. The typist can search for certain combinations of shapes by pressing down on the ergonomic keyboard. Then, a small screen above the keyboard (Lin called it his ‘magic eye’) offers the typist up to eight possible characters that might match. In this way, the typewriter boasts the ability to retrieve up to 90,000 characters. …

“Encoded in the machine’s engineering was an ambitious globalism. Lin’s way of breaking down languages by the shape of their words rather than their sounds or alphabets meant his machine theoretically can type English, Russian and Japanese as well, according to the typewriter’s manual.

” ‘One thing that was very interesting … in Li Yutang’s thinking about Chinese-ness and Chinese culture is that it must not be insular. It must have this porous border, it must be capacious and be able to communicate and talk with other cultures,’ says Yangyang Cheng, who first wrote about the typewriter’s discovery. …

“Mullaney is now researching the typewriter full-time, trying to understand how its mechanical innards work, with the far-off dream of one day replicating it. He recently found the typewriter’s ink spool was still fully intact inside.

” ‘You would need the sort of technology that they used on, like, discoveries of the Dead Sea Scroll and stuff like that, but you’ll notice that the ink spool is still there,’ he points out, using a dental mirror to peer inside the machine.

“The ink spool could contain traces of the last words Lin or his daughter typed on the machine — meaning perhaps the inventor’s own words are in his magical machine too.”

More at NPR, here. The New York Times also has a story on the typewriter. Read it here.

Photo: The Optimist Daily.
Website the Optimist Daily says, “Mushroom caskets offer an earth-friendly goodbye in North America’s first burial of its kind.”

Blogger Will McMillan at A Musical Life on Planet Earth gave me the lead for today’s story. And because my husband and I just recently entertained two mushroom enthusiasts from a recent conference, I decided today was a good day to tell you how some folks take their love of mushrooms to the end — and beyond.

“Traditional burials,” writes the Optimist Daily, “though deeply meaningful, often come at a steep environmental cost. The chemicals, hardwood, and land use involved can have long-term ecological impacts. But a quiet revolution in burial traditions is beginning to bloom and its roots are made of mushrooms.

“In a first for North America, a burial using a fully biodegradable mushroom casket took place on a serene hillside in rural Maine. The Loop Living Cocoon, developed by Dutch company Loop Biotech, is made entirely from mycelium, the intricate root system of fungi. The casket is grown in just one week, naturally breaks down within 45 days, and enriches the soil it returns to.

“ ‘My father always told me that he wanted to be buried in the woods on the property that he loved so much,’ said Marsya Ancker, whose father Mark C. Ancker was laid to rest in the pioneering casket. ‘He wanted his final resting place to nourish the land and plants he cherished.’ …

“Though this was a first for North America, Loop Biotech has already facilitated more than 2,500 burials across Europe using mushroom caskets. Green burials are an alternative that avoids embalming fluids, hardwood caskets, and steel-reinforced concrete vaults, and they’ve been steadily growing in popularity since the 1990s.

“ ‘Since 2005, the Green Burial Council has certified over 250 providers and recorded 400+ green cemeteries across the U.S. and Canada: a clear sign of growing demand for environmentally conscious end-of-life choices,’ said Sam Perry, president of the Green Burial Council.

“The statistics are striking. According to the Council, conventional U.S. burials consume roughly 20 million board feet of wood, 4.3 million gallons of embalming fluid, and 1.6 million tons of concrete each year.

“Bob Hendrikx, founder of Loop Biotech, believes funerals can be more than a final goodbye. ‘We created the Loop Living Cocoon to offer a way for humans to enrich nature after death. It’s about leaving the world better than we found it.’

The Global Green Burial Alliance, founded in 2022, is helping reshape global perspectives on death. Entirely volunteer-run, the organization connects families with green providers and empowers people to reclaim their voice in end-of-life decisions. …

“Ed Bixby, founder of the Global Green Burial Alliance, believes these choices create a legacy of compassion. … ‘To embrace the living with our death becomes the final act of kindness we can bestow upon our planet.’

“With innovations like the mushroom casket and a groundswell of interest in sustainable options, a cultural shift appears to be underway. It asks that we reimagine death not as an ending, but as a way to nourish new life.”

So there’s that.

Sometime I’ll tell you about our mycologist visitors. Theirs is a whole different world. And when you live in a retirement community and are in danger of too much sameness, “different” is especially welcome.

Consider for example, how we learned from these guys that truffles are actually all over the world but buried very deep. And how they might even have been the “manna” in the desert described in the Bible. They do grow in desert places like Saudi Arabia.

So says the CEO of MycoSymbiotics, William Padilla-Brown, who, we learned, was a speaker at the conference. His bio describes him as a “Multidisciplinary Citizen Scientist practicing social science, mycology, phycology, molecular biology, and additive manufacturing. William founded MycoSymbiotics in 2015, and has since developed it into the innovative practical applied biological science business it is today. William holds permaculture design certificates acquired through Susquehanna Permaculture and NGOZI, and a certificate from the Bigelow Laboratory for Ocean Sciences in algal culturing techniques. He has published the first English-language books on cultivating the cordyceps mushroom and regularly leads courses on their cultivation. William’s research has been sponsored by several organizations and his work has been featured in multiple publications, including Fantastic Fungi and VICE. He also founded and manages MycoFest, an annual mushroom and arts festival, now on its eleventh year.”

So many unusual pursuits in this world! I am not knowledgeable enough to recommend the ideas of any mycologists or herbalists, nor am I planning a mushroom burial, but I sure am a sucker for anything interesting.

Doesn’t curiosity keep us all going?

More at the Optimist, here.

Photo: Tracy Nguyen for NPR.
In general, Hollywood cares little for the “circular economy,” but this helicopter at Beachwood Services, originally used in 
Black Hawk Down, has been repurposed in Terminator 4Suicide Squad and The A Team, among other movies and TV shows.

As I was working on a post in which actor Benedict Cumberbatch bemoaned the wastefulness of Hollywood, I ran across a contrary example. Apparently, some folks in that world care about the environment or maybe just see a buck to be made by repurposing sets.

A big part of Hollywood’s problem relates to being in a hurry and taking the easy way out.

First Cumberbatch at the Guardian.

Catherine Shoard writes, “Benedict Cumberbatch has called the Hollywood film industry ‘grossly wasteful,’ taking particular issue with its squandering of resources in the aid of set building, lighting – and bulking up physiques for blockbusters.

“ ‘It’s horrific eating beyond your appetite,’ Cumberbatch told Ruth Rogers on her food-focused podcast, Ruthie’s Table 4, adding that when he was shooting Marvel’s Doctor Strange, he would eat five meals a day. In addition, he would snack on boiled eggs, almonds and cheese, in order to try to ingest enough protein to transform his body.

“ ‘Going back to responsibility and resourcefulness and sustainability, it’s just like, “What am I doing? I could feed a family with the amount I’m eating,” ‘ Cumberbatch said.

“ ‘It’s a grossly wasteful industry,’ he continued. ‘Think about set builds that aren’t recycled, think about transport, think about food, think about housing, but also light and energy. The amount of wattage you need to create daylight and consistent light in a studio environment. It’s a lot of energy.’ “

So there’s that.

On the other hand, according to National Public Radio, “Beachwood Services, owned by Sony Pictures Entertainment, rents out sets and props for reuse that were originally built for its own productions.”

That spark of hope was reported by Chloe Veltman.

“For decades,” she says, “it was standard practice in Hollywood for art departments to build sets for movies and TV shows from scratch, and then break them down at the end of production and haul the pieces off to the landfill.

” ‘The dumpsters just line up at the end of the show,’ said veteran Hollywood art director Karen Steward of many productions she worked on, from the 1988 high school comedy Johnny Be Good, to the 2013 political action thriller Olympus Has Fallen. ‘And there’s no talking about it, because it’s time to get off the soundstage.’

“Steward is part of a group of like-minded Art Directors Guild members who have been pushing for more sustainable practices for years, along with other allies. At first, she said, it was hard at first to get much traction. ‘We’re all about not wasting time, and hurry up, and get it done, and time is money.’

“But Steward said things are becoming easier, as the industry is gradually coming to grips with its impact on human caused climate change. …

” ‘To find a true circular solution, a true zero waste idea, is what we’re working toward,’ she said.

“According to Earth Angel, an agency that helps productions in the U.S. and around the globe reduce their carbon footprints, the average TV show or movie in 2022 created about 240 tons of waste, with an estimated half of that amount coming from the disposal of props and sets.

” ‘There are definitely more innovative, efficient ways of working,’ said Earth Angel founder and CEO Emellie O’Brien. ‘

‘We often just don’t give people the space and the breathing room to uncover those solutions.’

“One such solution is to reuse old sets rather than always building new ones. Beachwood Services, owned by Sony Pictures Entertainment, rents out sets and props for reuse that were originally built for its own productions. Located in Santa Clarita, north of Los Angeles, its warehouses are packed with scenic gems. …

“Art directors sometimes resist the idea of reusing old sets, because they want to realize their own creative vision. But Sondra Garcia, Beachwood’s director of scenic operations, said the service allows them to alter what they rent to suit their needs.

” We tell people, “You’re going to put your own spin on it. You’re going to paint it. You’re going to reconfigure it. And then it is your design,” ‘ said Garcia. ‘The most important thing to remember is to recycle stuff because it’s less wasteful, and producers like it because it saves money.’

“And when those sets get too old to rent out to big-budget productions, they often wind up at places like EcoSet. Productions pay for the Los Angeles-based company to haul away their unwanted sets, props and construction materials. Instead of going to landfills, those treasures are then donated to whoever wants them. …

“But these solutions to Hollywood’s chronic waste problem only go so far.

“Ecoset’s owners don’t know what happens to all of the free stuff the business gives out — whether it’s recycled again or thrown away. Also, many warehouses around the region that used to keep old sets and props in circulation have downsized — Sony’s Beachwood Services formerly had five warehouses and now there are two — or have shuttered in the past couple of years, owing to rising real estate costs. …

” ‘I don’t think anyone in our industry would shy away from really hard challenges or else we wouldn’t be in our industry,’ said Everything Everywhere All at Once producer and sustainability champion Jonathan Wang. ‘But I do think it’s tricky.’

“Wang said despite people’s best intentions, a lot of materials still get thrown out in the rush to meet hectic production deadlines — including on his own sets.

” ‘I think it’s important to just acknowledge that we’re all figuring it out,’ Wang said. ‘We’re trying to do it better.’ “

More at NPR, here, and at the Guardian, here. No firewalls, but both those outlets need our support.

Baseball for the Blind

Photo: John Lykowski.
Alex Gamino of the Chicago Comets takes a turn at bat at the 2024 Beep Baseball World Series in St. Charles, Missouri.

In an unusual story at the Christian Science Monitor, Jay Copp reports that “baseball for the blind” doesn’t mean listening to games on the radio but actually playing baseball in spite of a disability. The sport is called Beep Baseball. It has a ball that beeps, perhaps reminding Harry Potter fans of those airborne snitches with a mind of their own.

“Clad in a stylish red uniform with blue trim, Rich Schultz fiercely swings at the pitch and dashes toward the base. Mr. Schultz, a teacher, is one of more than 100 weekend warriors playing baseball on a recent Saturday morning at a sprawling park in a Chicago suburb. Eight teams from six states competed in the two-day tournament, in its 24th year.

“The Chicago Comets, Mr. Schultz’s team, won two and lost two. The camaraderie was more important than winning. ‘There’s a real sense of community – not only the guys on your team but the other teams,’ says Mr. Schultz. …

“The players are blind. The teams belong to the nationwide 24-team National Beep Baseball Association (NBBA), formed in 1976.

“Beep baseball is a modified version of the national pastime. The 16-inch ball has a noisemaker that beeps. A teammate, a sighted volunteer, serves as the pitcher. There are just two bases, 4-foot-tall padded cylinders. One of them will buzz when the batter strikes the ball. The batter is out if a fielder cleanly grabs the ball before the batter touches the base. Otherwise, a run is tallied.

“The games have the same varied pace of traditional baseball: stretches of inactivity, such as foul balls and swinging strikes, followed by frenetic action, with fielders scrambling and batters sprinting toward the bag. Most of the players grew up as avid baseball fans or played other sports as youths.

“ ‘He’s very competitive,’ says Christina Smerz of Mr. Schultz, her husband, who wrestled in high school, despite his lifelong blindness. ‘He gets a real sense of freedom playing sports.’ …

“Beep baseball has been on a steady upswing, according to Stephen Guerra, NBBA secretary. … The NBBA has 500 members, split about equally between players and volunteers. That’s double the number from two decades ago, according to Mr. Guerra, who is a player for the Minnesota Millers.

“Bob Costas, the Emmy-winning sports broadcaster, has promoted the World Series on both a baseball podcast and a video made for MindsEye, a nonprofit sponsoring the tournament. 

“Beep baseball dates from 1964 when Charles Fairbanks, an engineer at a telephone company, designed the first practical beeping baseball. Mirroring the general societal attitude toward those with disabilities, the sport evolved from a genteel, slow-moving one, in which players were basically coddled, into a highly competitive activity. Fielders dive after balls, and batters fling themselves into the padded bases. …

“Comet Dustin Youngren remembers his debut several years ago with vivid clarity. … ‘I was so nervous. But I hit it, got to the base, and scored a run – in my first at bat,’ says Mr. Youngren. … Beep baseball is a central part of his life. ‘I love my team. I get a lot of support,’ he says. ‘I want to play forever.’ …

“Begun in 1995, the Comets practice every Saturday during the season and play a 20-game schedule. The 12-member roster has fluctuated, but it often has included players as young as teenagers and women as well. Many on the team are either in school or gainfully employed. The current roster includes a rehabilitation therapist and an IT support system engineer.

“On hand at the recent Saturday game is David Smolka, a 60-something former league MVP. Cooper, his Labrador leader dog, lies at his feet. ‘I was pretty good,’ he says with a chuckle. ‘I’d get upset with myself if I didn’t do well. I learned to talk to myself and realize it’s OK to have a bad day, just like you might have a bad day at work.’

“Mr. Smolka coached the Comets when he retired from playing. His players learned much more than how to hit or field. ‘Some had to learn how to get to practice. They had to learn bus routes, how to get equipment,’ he says. ‘My mom never pampered me. I didn’t pamper them.’ …

“Beep players understand, all too well, that off the diamond it’s not an even playing field. ‘People look down on you. They think you should be flipping burgers,’ says Mr. Youngren. ‘I want to break that line of thinking, to show people what I can do.’

“Mr. Schultz teaches young people who are blind as part of his job as a special education teacher. He uses beep baseball to illustrate the possibilities for them. Often it’s their parents who need to be reached. ‘They can have such negative expectations,’ he says.”

At the Monitor, here, you can get more details, including how the play-by-play is narrated by someone who can’t see what’s happening.

Photo: Shimabuku.
Unlike animals that spend their days eating, sleeping or mating, octopuses “have time to wander — time for hobbies,” says Shimabuku, who makes art for sea creatures to enjoy. 

There’s an artist in Japan who makes art for marine animals just to see how they react. The responses of octopuses seem to be the most gratifying to him. The whole time I was reading this story, I was wondering why I had never heard the naturalist Sy Montgomery, author of The Soul of an Octopus, talk about this on Boston Public Radio in one of her her weekly visits. I must have missed that day.

“When the Japanese artist Shimabuku was 31 years old,” writes Francesca Perry at CNN, “he took an octopus on a tour of Tokyo. After catching it from the sea with the help of a local fisherman in Akashi, a coastal city over 3 hours away from the Japanese capital by train, he transported the live creature in a temperature-controlled tank of seawater to show it the sights of Tokyo before returning it safely to its home the same day.

“ ‘I thought it would be nice,’ the artist, now 56, said about the experience, over a video call from his home in Naha, Japan. …

‘I wanted to take an octopus on a trip, but not to be eaten.’

“Documenting it on video, Shimabuku took the octopus to see the Tokyo Tower, before visiting the Tsukiji fish market, where the animal ‘reacted very strongly’ to seeing other octopuses on sale, the artist said. …

“The interspecies day trip, resulting in the 2000 video work ‘Then, I Decided to Give a Tour of Tokyo to the Octopus from Akashi,’ kickstarted a series of projects Shimabuku has undertaken over the decades that engage with octopuses in playful, inquisitive ways. A portion of this work is currently on show in the UK, in two exhibitions that explore humanity’s relationship with nature and animal life: ‘More than Human‘ at the Design Museum in London (through October 5) and ‘Sea Inside‘ at the Sainsbury Centre in Norwich (through October 26).

“Fascinated by what the sea creatures might think, feel, or like, Shimabuku has documented their reactions to various experiences, from the city tour of Tokyo to being given specially crafted artworks. ‘They have a curiosity,’ he said. …

“When he lived in the Japanese city of Kobe, Shimabuku would go on fishing trips with local fisherman, taking the opportunity to learn about octopuses. ‘Traditionally we catch octopuses in empty ceramic pots — that’s my hometown custom,’ he said. Fishermen would throw hundreds of pots into the sea, wait two days, then retrieve them — finding octopuses inside. ‘Octopuses like narrow spaces so they just come into it,’ explained Shimabuku.

“When he saw the animals within the pots, he discovered they were ‘carrying things’: shells, stones, even bits of broken beer bottles. He began to save the small objects the octopuses had gathered. …

“Shimabuku started to think, ‘maybe I can make sculptures for them.’ … In his 2010 work ‘Sculpture for Octopuses: Exploring for Their Favorite Colors,’ Shimabuku crafted a selection of small glass balls and vessels, in various colors. At first, he went out in a fishing boat and threw the sculptures in the sea, ‘like a present to the octopuses.’ But then he wanted to see how the animals were reacting to the objects.

“Collaborating with the now-closed Suma Aqualife Park in Kobe, he repeated the effort in a large water tank, where he could film the reaction of octopuses.

“ ‘They played with them, and sometimes they carried them,’ said Shimabuku. … ‘They keep touching, touching.’ The resulting film, and photographs, show the octopuses wrapping their tentacles around some of the glass objects, grabbing and rolling them across the sand, and even holding them in their suckers as they move across the side of the tank.

“In 2024, Shimabuku had a landmark solo show at Centro Botín in Santander, Spain. Specially for the exhibition, he collected an assortment of glass and ceramic pots to offer to local octopuses. Some of the vessels were made by the artist and others were from ‘second-hand shops and eBay.’ …

“Although octopuses are colorblind, Shimabuku wanted to see through these projects whether they were attracted to objects of certain colors. ‘What I heard from fishermen is that octopuses like red,’ he said. ‘Long ago in Kobe, I found an octopus in a red pot, so I believe they like red.’ Perhaps more so than the hue, Shimabuku is convinced that octopuses are drawn to very ‘smooth, shiny’ glass objects. He doesn’t have evidence to back this up, [he’s just] a man entranced by eight-legged mollusks is dedicating his time to engaging with them through art.”

More at CNN, here.