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September 2013 | smithsonian.com

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Contents
No Alpha Males Allowed
A trailblazing U.S. biologist nds that
Brazils muriqui monkeys live in unusu-
ally egalitarian groups. Might these en-
dangered primates have a thing or two to
show us about our aggressive ways?
BY STEVE KEMPER
Contributors 4
Discussion 7
From the Castle 10
Phenomenon 13
This month our theme is color,
from a new, blue greenback to a mys-
terious Roman chalice that changes
color when held to light
Passion Play 23
For six years Al Pacino has been ob-
sessing over his movie about the an-
cient seductress Salome. Is he nally
ready to let the public see it?
Tracking Balboa 31
The rst European to glimpse the
Pacic crossed Panama on foot
500 years ago. Our intrepid author
takes a hike
Argument from Design 75
A new poem by David Yezzi
Smithsonian 78
Books 98
Fast Forward 100
44 56 58 68
SEPTEMBER 2013 Volume 44, Number 5
STYLE & DESI GN
38
COVER
PHOTOGRAPH
BY KIERAN DODDS
The Touch Bionics
i-Limb Ultra.
THIS PAGE
A juvenile
northern muriqui.
Soul of the
Machine
A new David Hockney
retrospective high-
lights the artists two,
seemingly opposite
passions: hand-ren-
dered art and works
created with the latest
technology
BY LAWRENCE WESCHLER
Music of the
Spheres
A popular app for
the iPad called
Planetary joins the
Cooper-Hewitt
collection. Its the
museums rst foray
into design that you
cant actually see
BY CLIVE THOMPSON
The Ephemeral
City
When Hindu
pilgrims congregate
at a Ganges River
festival, they form
a remarkable en-
campment, drawing
curious urban
planners as well
BY TOM DOWNEY
Replaceable
You
From i-limbs to
articial organs,
advances in
bionics have led
to an explosion of
innovation in the
increasingly critical
eld of prosthetics
BY GEOFF BRUMFIEL

4 SMI THSONI AN.COM | September 2013
Lawrence Weschler
Formerly the director of the New York In-
stitute of the Humanities and a staf writer
at the New Yorker, Weschler is the author
of 14 books, including Everything That
Rises: A Book of Convergences, which won
the National Book Critics Circle Award
for Criticism. He rst met David Hockney
in 1982 and has written extensively about
his work and ideas, publishing True to Life:
Twenty-Five Years of Conversations with
David Hockney in 2008. Hockneys con-
stant curiosity is remarkable, Weschler
says. Every little thing he notices be-
comes a questionwhy is it that way?
Contributors
I LLUSTRATI ONS BY Peter Horvath
Amy Maxmen
Ive been entranced
by the colors of ani-
mals since childhood,
when I used to keep
colorful caterpillars in
jars in my room, says
Maxmen, who investi-
gates the bold hues
of poisonous tree
frogs (p. 13). A science
writer published in
Nature and New
Scientist, Maxmen
also has a PhD in
biology from Harvard.
Alfred
Yaghobzadeh
After publishing
Christianity Around
the World, the photog-
rapher turned his lens
on the worlds largest
religious gathering, the
Hindu mass pilgrimage
known as the Kumbh
Mela (p. 58). The
encampment was so
enormous, he says.
I had to start walking
from my tent at 5 a.m.
daily to get to the river
in time to take photos.
Clive Thompson
A journalist who often
writes about the social
impact of modern
technology, Thompson
dissects the Cooper-
Hewitt, National
Design Museums new
acquisition of an iPad
app (p. 56). In a world
where software is be-
coming increasingly
prevalent in everyday
life, they want to be
among the rst muse-
ums to gure out how
to collect this type of
design, he says. His
rst book, Smarter
Than You Think:
How Technology Is
Changing Our Minds
for the Better, comes
out this month.
Kieran Dodds
For the Glasgow-based
photographer, who
most often covers
the environment and
wildlife, shooting the
prosthetic arms on
our cover and in Re-
placeable You (p. 68)
presented a novel chal-
lenge. I wanted to con-
vey the spark of life in
them, he says. I ended
up glancing at my own
hand a lot, trying to
work out what gestures
looked natural.
Ron Rosenbaum
The author of seven
books, including The
Shakespeare Wars,
our national corre-
spondent considers
Al Pacino in Passion
Play (p. 23). As a stu-
dent of Shakespeare,
Im really looking for-
ward to his Iago , which
is in development,
Rosenbaum says. I
have this sense that
hes picked up some-
thing about evil thatll
make it exceptional.
Jaz Parkinson
Trained as a painter,
Parkinson, who lives
in the U.K., has been
going through famous
books, noting every
mention of color and
capturing the results
in vibrant charts, such
as her rendering of
the Civil War novel
The Red Badge of
Courage on page 20.
The rst book I chose
was Revelation, from
the Bible, she says.
It was a lucky choice.
I was so entranced
by the hues of blood,
re, jewels and smoke.
Afterward, I just kept
goingI had to see
what other texts
contained.

MKT26529 2013 Sano Pasteur Inc. 7/13 Printed in USA
SANOFI PASTEUR. Discovery Drive. Swiftwater, Pennsylvania 18370. www.sanopasteur.us
Visit Fluzone.com/highdose to nd out where to get Fluzone High-Dose vaccine and for more information.
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your health care professional immediately. Vaccination with Fluzone High-Dose vaccine may not protect all individuals.
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65 years of age and older against influenza disease caused by influenza virus subtypes A and type B contained
in the vaccine. Approval of Fluzone High-Dose vaccine is based on superior immune response relative to
Fluzone vaccine. Data demonstrating a decrease in influenza disease after vaccination with Fluzone High-Dose
vaccine relative to Fluzone vaccine are not available.
The most common side effects to Fluzone High-Dose vaccine include pain, swelling, and redness at the injection
site; fever, headache, fatigue, and muscle aches. Other side effects may occur. Fluzone High-Dose vaccine
should not be given to anyone with a severe allergic reaction to any vaccine component, including eggs or
Tell your doctor if you have ever experienced Guillain-Barr syndrome (severe muscle weakness) after a previous
dose of influenza vaccine. If you notice any other problems or symptoms following vaccination, please contact
For more information about Fluzone High-Dose vaccine, talk to your health care professional and see complete
You are encouraged to report negative side effects of prescription drugs to the FDA.
older. 65 and o

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Fluzone
High-Dose
Inuenza Virus Vaccine
Please read this information sheet before getting Fluzone
High-Dose vaccine. This summary is not intended to

take the place of talking with your healthcare provider. If you have questions or would like more information, please
talk with your healthcare provider.
What is FIuzone High-Dose vaccine?
Fluzone High-Dose is a vaccine that helps protect against infuenza illness (fu).
Fluzone High-Dose vaccine is for people 65 years of age and older.
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Who shouId not get FIuzone High-Dose vaccine?
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ever had a severe allergic reaction to eggs or egg products.
ever had a severe allergic reaction after getting any fu vaccine.
are younger than 65 years of age.
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problems with your immune system as the immune response may be diminished.
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tiredness
headache
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for a list of other side effects that is available to healthcare professionals.
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MKT26886 6394
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Discussion
Treticks marvelous photographs. So
much momentum for the movement
was gathered that day, momentum
that carried forward and culminat-
ed in groundbreaking legislation,
none more important than the Vot-
ing Rights Act of 1965. Today, we
nd that Voting Rights Act being as-
saulted by the same forces that stood
against the march. I hope words and
images like those in this package will
serve as reminders that the dream
envisioned by Dr. King and the mass
of marchers has not
yet been achieved. We
owe it to them to con-
tinue working toward
the ray of light young
Ken Howard saw that
day, and to march again
if we must.
Michael DOrso
NORFOLK, VIRGINIA
Revisiting Tonto
Thank you for the story
Behind the Mask by Jerry Adler. In
the article Mr. Adler mentions the
actor Jay Silverheels. Born Harold
Smith in Canada, he took the screen
name Silverheels from a nickname
he received as a lacrosse player. He
brought a lot to the role of Tonto in
The Lone Ranger television series.
When I watch reruns, I like to see
how Silverheels handles himself in a
ght. He was a middleweight boxing
champ and he did the best trick ride
mount of anyone in the movies. But
what Mr. Silverheels leaves to Amer-
ica is his work with the Indian Actors
Workshop that trained aspiring Na-
tive Americans. But how many real
Native American actors are on the
screen today?
Judith Carlson
DEXTER, MI CHI GAN
FROM THE EDI TORS Our profile of
Houstons cultural renaissance [The
Big Heart] sparked debate on Face-
book. The city was a giant parking
lot when I moved here in 1980 and
it keeps getting bigger, Thomas
Hazard said. It epitomizes urban
sprawl. Not so, says Meredith Nudo:
Its been a great city for a while. Ev-
eryones just been too preoccupied
with New York, L.A. and Chicago to
notice. Michael A. Fletchers new
oral histories of the August 1963
March on Washington
[A Change Is Gonna
Come] inspired read-
ers. Judi Howe, of
Cornelius, North Car-
olina, says the march
was one of the most
important moments
of her life . John Barry
Kelly II, a file clerk
at the FBI that sum-
mer, recalls receiving
orders not to join the
marchers on the Mall. We have all
come a long way thanks to King and
the other martyrs of the civil rights
movement, he writes. Brooke Ma-
hanes says the interviews just blew
me away. The oral history style really
made me feel like I was there. Mi-
chael DOrso, co-author of Represen-
tative John Lewis memoir Walking
With the Wind, says the struggle isnt
over:
Marching On
I was deeply moved by your power-
ful package of text and photographs
commemorating the 1963 March on
Washington. It was particularly re-
freshing to see new images of that
daythe glow of promise, possibil-
ity and intense determination cap-
tured on so many faces by Stanley
CONTACT US
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Best explanation of the
Higgs boson Ive read
yet. No surprise given the
author is Brian Greene
[Mind Over Matter].
@kerthan ON TWITTER
Women Ballplayers
I was thrilled to find out that Jack-
ie Mitchell had struck out both Babe
Ruth and Lou Gehrig in 1931 at the age
of 17. Ive loved playing baseball all my
life, so its great to hear of females who
did well in the game, if only for a few
minutes of fame. I am, however, ap-
palled by Tony Horwitzs misogynous
statement that compared organized
baseballs rst girl pitcher with a ham-
ster playing shortstop.
Amy Miller
TULSA, OKLAHOMA
Subatomic Story
I am elated to have a sense of what the
Higgs boson fuss is all about. I love
reading science articles but always
skip those on physics as beyond my
grasp. Brian Greenes column did the
trick and sparked my understanding
of the Large Hadron Collider and the-
oretical maths place in our universe.
Patsy Harris
BUCKHEAD, GEORGI A
Correction
You dont have to be a particle phys-
icist to see that the photograph on
page 25 of the Compact Muon Solenoid
at CERN was reversed. Yet we didnt
think it was a mistake until readers
pointed it out. Sorry about that.

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From how we move to what we eat to how
we power our industries and lifestyles, the
way we live now and for the future requires that
energy continues to be as cost-effective, abundant,
and sustainable as it has been for the last century.
Thanks to a host of new innovations, however, the
energy created for the new century will be unlike
anything in the past.
To maintain our lifestyle, we must now gure out
how to power the 21st century and how to continue
to provide sufcient, easy energy around the world.
Smithsonian.com is exploring these ideas in Energy
Innovation, an online special report on energy. The
special report will highlight how people and organiza-
tions, from conglomerates to science labs to backyard
tinkerers, are meeting the energy challenges of today
and inventing the energy of our future.
Smithsonian.com/energyinnovation
ADVERTISEMENT
Brought to you in part by

ENERGY
INNOVATION
S P E C I A L RE P ORT
Launching September 3, 2013

N
M
A
H
,

S
I
SECRETARY
G. Wayne Clough
BOARD OF REGENTS
CHANCELLOR
The Chief Justice of the United States
CHAIR
Dr. France A. Crdova
VICE CHAIR
Mr. John W. McCarter, Jr.
MEMBERS
The Vice President of the United States
Hon. Thad Cochran
Hon. Patrick J. Leahy
Hon. Jack Reed
Hon. Xavier Becerra
Hon. Tom Cole
Hon. Sam Johnson
Hon. Barbara M. Barrett
Mr. Stephen M. Case
Dr. Shirley Ann Jackson
Mr. Robert P. Kogod
Mr. David M. Rubenstein
Mr. Roger W. Sant
Patricia Q. Stonesifer
SMITHSONIAN NATIONAL BOARD
Mrs. Sakurako D. Fisher, CHAIR
Edgar M. Cullman, Jr., VICE CHAIR
Mr. Robert D. MacDonald, VICE CHAIR
NATIONAL BOARD: Mr. Rodney C. Adkins,
Mr. Gordon M. Ambach, Ms. Valerie Anders,
Ms. Judy Hart Angelo, Mr. William H. Bohnett,
Mrs. Peggy P. Burnet, Mrs. Jane Lipton Cafritz,
Mr. Thomas H. Castro, Ms. Abby Joseph
Cohen, Mr. Vincent J. Di Bona,
Mr. Michael R. Francis, Mr. John French III,
Ms. Brenda J. Gaines, Mrs. Shelby M. Gans,
Ms. Myra M. Hart, Mr. Edward R. Hintz,
Ms. Judy S. Huret, Mr. John C. Jay,
Ms. Jennifer Walston Johnson, Mr. Dennis
J. Keller, Mr. Jonathan M. Kemper, Mr. David
S. Kidder, Mr. Allan R. Landon, Mrs. Betsy
Lawer, Ms. Cheryl Winter Lewy, Ms. Sarah E.
Nash, Mr. Russell E. Palmer, Jr., Mr. William M.
Ragland, Jr., Mrs. Kristin M. Richardson,
Ms. Alison Wrigley Rusack, Mrs. Marna
Schnabel, Ms. Fredericka Stevenson,
Mrs. Phyllis M. Taylor, Mr. Michael E.
Tennenbaum, Mr. L. John Wilkerson, Ph.D.,
Mrs. Emily Willey,* Ms. Deborah L. Wince-Smith
HONORARYMEMBERS: Mr. Robert McC. Adams,
Mr. William S. Anderson, Hon. Max N. Berry,
Mr. L. Hardwick Caldwell III, Mr. Frank A. Daniels,
Jr., Mrs. Patricia Frost, Mr. James M. Kemper, Jr.,
Mrs. Jean B. Mahoney, Mr. Paul Neely, Justice
Sandra Day OConnor, Mr. Francis C. Rooney,
Jr., Mr. Wilbur L. Ross, Jr., Mr. Lloyd G. Schermer,
Hon. Frank A. Weil, Mrs. Gay F. Wray
* Ex-O cio
Its only one weapon among the 5,700
in the rearms collection of the Amer-
ican History Museum, but it speaks to
the Civil War in a very personal way.
Under the watchful eye of curator Da-
vid Miller, I hoist the 1863 Springeld
rie musket to my shoulder and feel
its weight, with deepening respect for
those who used these muskets with
deadly results. This particular weapon
was owned by Pvt. Elisha Stockwell
Jr., who lied about his age to sign up, at
age 15, with the Union Army. He took
canister shot in his arm (and a bullet in
his shoulder) at Shiloh, marched with
General Sherman toward Atlanta, and,
at 81 and nearly blind, nally put pen
to paper to write about his experience.
I thought my arm was gone, he
wrote of the moment the grapeshot
struck him, but I rolled on my right
side and . . . couldnt see anything
wrong with it. Spotting ripped esh,
a lieutenant had Stockwell sit out a
charge against the Rebs, possibly
saving his life.
The musket young Elisha used
also speaks volumes about the tech-
nology of the day. In a Smithsonian
symposium last fall, Merritt Roe
Smith of MIT argued that the cre-
ation of the technical know-how that
could produce precisely tooled, in-
terchangeable parts for hundreds of
thousands of ries, a feat the South
couldnt match, set the stage for explo-
sive industrial growth after the war.
The Smithsonians observation of the
Civil Wars sesquicentennial encom-
passes exhibitions at many of our 19
museums. For an overview of exhibi-
tions and events and a curated collec-
tion of articles and multimedia presen-
tations, check out Smithsonian.com/
civilwar. Be sure to experiment with
the interactive map of the Battle of
Gettysburg, which, in addition to troop
movements, displays photographic
panoramas of the terrain as various
military units would have seen it.
One high point of our Civil War re-
membrance is the richly illustrated
Smithsonian Civil War: Inside the Na-
tional Collection, to be published next
month by Smithsonian Press. Our
curators and historians selected 150
noteworthy and often moving objects
to write about: weapons, uniforms and
portraits, but also a slave-ship manifest,
plaster casts of Abraham Lincolns face
and hands, and photographs of hot-air
balloons used by the Union for surveil-
lance. Three shows tied to the book will
air on the Smithsonian Channel.
Also next month, Smithsonian Press
will publish Lines in Long Array, which
includes historical poetry about the war
alongside contemporary verse. Sec-
tional hatred nearly rent asunder the
young United States, but Herman Mel-
ville captured the way the wars unimag-
inable carnage could erase distinctions
between Blue and Gray in a poem called
Shiloh: A Requiem (April, 1862), set in
the battles aftermath: natural prayer /
Of dying foemen mingled there / Foe-
men at morn, but friends at eve / Fame
or country least their care / (What like a
bullet can undeceive!).
By G. Wayne Clough, SECRETARY OF
THE SMI THSONI AN I NSTI TUTI ON
From the Castle
Two young Union soldiers sit for a portrait
beside an American ag c. 1863-65.

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PHOTOGRAPH BY Laura Hennessy
Although
colors exist
only in the
minds eye,
they create
a universal
language
dies? Molly Cummings,
of the University of Texas
at Austin, has been study-
ing these questions, and
she recently concluded that
the frogs colorations have
been shaped by an unusual
combination of pressures
to both avoid predators and
win mates.
Cummings suspected
that, over the millennia,
frogs on some islands
developed poisons that
were more lethal than
those of frogs living
elsewhere in Bocas del
Toroand that the more
poisonous the frog, the
more conspicuous its col-
ors. That co-evolution of
traits would make sense in
the predator-prey world of
In the animal world as in fashion, bright color makes a bold
statement. The vivid hues of the strawberry poison dart frog
declare, If you eat me, it could be the last thing you ever
do! And thats no bluf. The one-inch amphibian, native to
Central and South America, secretes a substance so toxic
that a single drop can kill a bird or snake. Animals that
deploy poison to defend themselves often signal their toxicity
with striking color, and in the interest of clear communication
they tend to rely on unvarying patterns, such as the monarch
butterys signature orange and black stripes. But the poison
dart frogs, named for the blowgun darts that indigenous peo-
ple laced with the toxic secretion, present an exception to
this conservative approach. Although many of the frogs
have reddish bodies and blue legs, a signicant num-
ber exhibit colors ranging from brilliant orange-red
to neon yellow with spots to ocean blue, and more.
And heres another thing: About 10,000 years ago,
this species looked fairly uniform. But rising sea
levels enveloped part of the frogs territory in mod-
ern-day Panama, creating a series of islands called
Bocas del Toro, and the frogs, isolated in diferent habitats,
followed diferent evolutionary paths. Why did they develop
a variety of colors that rival a bag of Jolly Rancher can-
This month were thinking about . . .
henomenon
A CURATED COLLECTION
OF NEWS AND OPINIONS
ON A SINGLE THEME

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Hidden
Landscapes
A Milan-based artistic duo
uses color to reveal a series
of dreamlike panoramas
concealed in white light
natural selection. Frogs that
are highly toxic can risk be-
ing seen if their color loudly
warns predators to back of.
And frogs whose poison is
less lethal would have a bet-
ter chance of survival if they
were less conspicuous.
Cummings and a col-
league conrmed this the-
ory by collecting poison
dart frogs with ten differ-
ent color schemes. Next the
scientists extracted toxins
from each frogs skin, diluted
them and injected the mix-
tures into lab mice. Several
of the mice subject-
ed to toxins from
the brightest frogs
experienced con-
vulsions and com-
pulsively groomed
themselves for hours
before the effect wore off
and they fell asleep. Poison
from frogs that were bland-
er in appearance elicited a
less prolonged reaction. A
brilliant orange-red creature
from Solarte Island turned
out to be 40 times as toxic
as a matte green frog from
Coln Island. Among the
poison dart frogs, dressed
to kill has a literal meaning.
What really matters,
though, is how the frogs
look to predators. Animals
perceive colors different-
ly. Birds see more colors
than we do. Snakes view
the world in a unique set of
shades, including infrared,
which we cant see. Many
diferent viewers pay atten-
tion to color, Cummings
says, so the question is,
who shapes the signal?
Cummings found that,
among the various animals
that dine on the frogs, only
birds have the visual capac-
ity to discern all the frog
color varieties. Birds, she
says, must have long been
the frogs most lethal pred-
ator, and the Technicolor
skin evolved in response to
that threat.
But theres more to a col-
or than just its hue or shade,
and the poison dart frogs
evolution takes advantage
of that, too. Some frogs
that share the same color
are brighter than others.
And while birds are
good at telling dif-
ferent colors apart,
theyre not so hot
at detecting different
levels of brightness. So the
intensity of the frogs col-
oration must be about sex,
Cummings thought.
Cummings discovered
that the frogs eyes are ne-
tuned to gauge brightness,
which she theorized is in-
volved in mate selection:
Females prefer males with
the shiniest skin.
From an evolutionary
perspective, the poison
dart frogs lucked out, since
extravagant physical traits
that help males attract a fe-
male often make them more
vulnerable to predators.
Peacocks with long color-
ful tails are a hit with the
ladies, but the tails make it
harder for them to y away
from danger.
Not so with the dan-
diest poison dart frogs,
which get to have it both
ways: Their flashy colors
simultaneously attract
mates and warn predators.
To the envy of other ani-
mals, they didnt have to
sacrifice sex for survival.
AMY MAXMEN
COLOR
Phenomenon
While many poison dart frogs are
red and blue, others on islands
near Panama have evolved a
startling variety of colors.

Under white light, the mural is kaleidoscopic.
But as a red, green or blue light passes over the
image, a dierent scene emerges: exotic wild
animals in red, a dense jungle in green, a monkey
tribe in blue. Created by a duo of Milan-based
artists known as Carnovsky, La Selva (Jungle)
is part of their RGB projectinstallations that
transform under color LED lters, exposing pan-
oramas concealed in white light. The project,
says Carnovsky, explores the idea that what we
see for the rst time may hide other meanings.
The artists especially like to use huge copies of
18th- and 19th-century engravings to create over-
lapping scenery. During those periods, they say,
people felt there was still the chance to discover
new worlds and they drew wildlife images that
exhibited a subtle balance between the realistic
and the fantastical. VI CKY GAN
See more of Carnovskys hidden landscapes at
Smithsonian.com/carnovsky

THE RAINBOW CHART ABOVE TELLS A STORY. An entire nov-
el, in fact. British artist Jaz Parkinson created the image
for Smithsonian by tallying the number of times Stephen
Cranes classic Civil War saga The Red Badge of Courage
mentions or evokes dierent colors. Im interested in showing
how the human mind can transform a word of text into a tan-
gible color, says Parkinson, who has visualized 12 other books
and plays. She found the writing in The Red Badge of Courage
to be especially evocative and she groups similar colors to-
gether to illustrate the imagerys nuances. For instance, the
three large reddish bands above represent crimson (a color
Crane uses to describe the ash of rie shots), blood and
red (which Crane often uses in reference to the bloodshot
eyes of the battle-weary soldiers). Parkinson nds it partic-
ularly satisfying when a chart reects a novels titleunlike,
for instance, The Color Purple, which she says only has a
minority of purple in its signature. PAUL BISCEGLIO
See color charts of other books and plays at
Smithsonian.com/parkinson
Coloring Books
An artist reveals
how each book
has its own unique
spectrum
CHART BY Jaz Parkinson
I N D E X
7.7
Average hours of sleep per
night in yellow bedrooms
5.9
Average hours of sleep per
night in purple bedrooms
26
Percent increase in tip that men
will give waitresses who wear
red instead of green or black
0
Percent increase in tip that
women will give waitresses who
wear red instead of green or black
10
Thousand, the number of
tropical sea snails required to
make one gram of royal purple
dye in the ancient world
13
Total types of color-sensitive
photoreceptors possessed
by the mantis shrimp
3
Total types of color-
sensitive photoreceptors
possessed by humans
Phenomenon
COLOR

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the issuing insurance company.


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The colorful secret of a
1,600-year-old Roman chal-
ice at the British Museum is
the key to a super sensitive
new technology that might
help diagnose human dis-
ease or pinpoint biohazards
at security checkpoints.
The glass chalice, known
as the Lycurgus Cup be-
cause it bears a scene in-
volving King Lycurgus of
Thrace, appears jade green
when lit from the front but
blood-red when lit from be-
hinda property that puz-
zled scientists for decades
after the museum acquired
the cup in the 1950s. The
mystery wasnt solved until
1990, when researchers in
England scrutinized broken
fragments under a micro-
scope and discovered that
the Roman artisans were
nanotechnology pioneers:
Theyd impregnated the
glass with particles of sil-
ver and gold, ground down
until they were as small as
50 nanometers in diameter,
less than one-thousandth
the size of a grain of table
salt. The exact mixture of
the precious metals sug-
gests the Romans knew
what they were doingan
amazing feat, says one of
the researchers, archaeol-
ogist Ian Freestone of Uni-
versity College London.
The ancient nanotech
works something like this:
When hit with light, elec-
trons belonging to the metal
ecks vibrate in ways that
alter the color depending
on the observers position.
Gang Logan Liu, an engi-
neer at the University of
Illinois at Urbana-Cham-
Glow With the Flow
A mysterious
ancient goblet
leads scientists
to develop a
sensitive new
nanotechnology
paign, who has long focused
on using nanotechnology
to diagnose disease , and
his colleagues realized that
this efect ofered untapped
potential. The Romans
knew how to make and use
nanoparticles for beautiful
art, Liu says. We wanted
to see if this could have sci-
entic applications.
When various uids lled
the cup, Liu suspected, they
would change how the vi-
brating electrons in the
glass interacted, and thus
the color. (Todays home
pregnancy tests exploit a
separate nano-based phe-
nomenon to turn a white
line pink.)
Since the researchers
couldnt put liquid into the
precious artifact itself, they
instead imprinted billions
of tiny wells onto a plastic
plate about the size of a
postage stamp and sprayed
the wells with gold or silver
nanoparticles , essentially
creating an array with bil-
lions of ultra-miniature Ly-
curgus Cups. When water,
oil, sugar solutions and salt
solutions were poured into
the wells, they displayed a
range of easy-to-distinguish
colorslight green for water
and red for oil, for example .
The proto type was 100 times
more sensitive to altered
levels of salt in solution than
current commercial sensors
using similar techniques. It
may one day make its way
into handheld devices for
detecting pathogens in sam-
ples of saliva or urine, or for
thwarting terrorists trying
to carry dangerous liquids
onto airplanes.
The original fourth-cen-
tury A.D. Lycurgus Cup,
probably taken out only for
special occasions, depicts
King Lycurgus ensnared in
a tangle of grapevines, pre-
sumably for evil acts com-
mitted against Dionysus,
the Greek god of wine. If
inventors manage to devel-
op a new detection tool from
this ancient technology, itll
be Lycurgus turn to do the
ensnaring. ZEEYA MERALI
The Romans may have rst come
across the colorful potential of
nanoparticles by accident, but
they seem to have perfected it.
Phenomenon
COLOR

FOR AMERICANS, GREEN
means success, but our
color lexicon may have to
change when the govern-
ment issues a multihued
$100 note in October. The
latest in a series of rede-
signed notes, the new bill
has less green than any
C-note since the govern-
ment began issuing federal-
ly backed currency in 1862
(not including the Rainbow
Notes of 1869). For start-
ers, the new bills face has a
blue background and se-
curity ribbon, which is lled
with tiny 100s and adja-
cent Liberty Bells that ap-
pear when tilted. That also
causes a copper-colored
Liberty Bell that sits inside
a copper-colored inkwell to
appear green. Such paper
pyrotechnics are called
for because about two out
of three Benjamins end
up abroad, where they are
more prone to counterfeit-
ing. But the bills other side
remains mostly true to the
hue of the original forg-
ery-proof ink used to print
the rst bills. So you can
still call it a greenback.
PRESTON LERNER
Focus on the ball at the cen-
ter of the image below. The
scene appears to vibrate. If
you move your head slightly
forward and backward, the
color elds of the rosette
appear to pulsate.
Scientists have several
theories about how our eyes
and brain collaborate to
create the illusion of move-
ment although the precise
neural mechanics remain
unknown. Still, what we do
know makes it possible for
artists such as myself to de-
sign visual pranks.
This vibrating rosette
combines several illusory
efects. To begin with, when
we xate on a pattern, it mo-
mentarily remains on our
retinas as an after-image.
One theory is that small, in-
voluntary eye movements
cause this ghost image to
overlap with the image
on the page. The result is
whats called a moir efect:
similar, repetitive patterns
merged together at slightly
diferent angles, creating a
rippling efect. I enhanced
this effect by adding two
high-contrast colors, blue
and yellow.
Also, when we approach
an object, our brain nor-
mally makes adjustments
so that the objects size and
brightness appear to re-
main constant. But when
you move your head back
and forth, the alternating
dark and light patterns in
my rosette seem to change
in both size and brightness.
One possible explanation
is that our visual system
cannot bring the blurred
boundaries within the
image into focus, and our
brain cannot adjust.
Seeing is believingex-
cept when the mind can be
tricked into believing what
it sees. GIANNI SARCONE
See more of Sarcones
optical illusions at
Smithsonian.com/sarcone
What happens when your eyes and brain dont agree?
Gaming the Brain
Ben Gets
the Blues
OPTI CAL ART BY
Gianni Sarcone M
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Phenomenon
COLOR

l Pacino
likes to make trouble for himself.
Everythings going along just ne
and I go and f--- it up, hes telling
me. Were sitting on the front porch
of his longtime Beverly Hills home
in the low-key section known as the
ats. Nice house, not a mansion, but
beautiful colonnades of towering
palms lining the street.
Youd think Pacino would be at
peace by now, on this perfect cloud-
less California day. But dressed
head to toe in New York black, a
stark contrast to the pale palette of
the landscape, he speaks darkly of
his troubling dilemma: How is he
going to present to the public
his strange two-film version
Passion Play
Al Pacino gets ready for the next act
in his high-wire careerbringing live
theater to the movie screen
PHOTOGRAPH BY Andy Gotts
by Ron Rosenbaum INTERVIEW

24 SMI THSONI AN. COM | September 2013
for a sex change? This is so weird, Al.
I said, I know. But its good.
Most of the time the risk has turned
out well, but he still experiences the
other side of the risk. The recent baf-
ing controversy over his behavior
during the Broadway run of Glengarry
Glen Ross, for instance, which he de-
scribes as like a Civil War battleeld
and things were going of, shrapnel . . .
and I was going forward. Bullets over
Broadway!
It suggests that, despite all hes
achieved in four decades of stardom,
Al Pacino (at 73) is still a little crazy
after all these years. Charmingly
crazy; comically crazy, able to laugh
at his own obsessiveness; sometimes,
crazy like a foxat least to those who
dont share whatever mission hes on.
Actually, maybe troubled is a bet-
ter word. He likes to play troubled
characters on the edge of crazy, or
going over it. Brooding, troubled
Michael Corleone; brooding trou-
blemaker cop Frank Serpico; the
troubled gay bank robber in Dog Day
Afternoon; a crazy, operatic tragi-
comic gangster hero, Tony Montana,
in Scarface, now a much-quoted g-
ure in hip-hop culture. Hes done
troubled genius Phil Spector, hes
done Dr. Kevorkian (I loved Jack
Kevorkian, he says of Dr. Death,
the pioneer of assisted suicide.
Loved him, he repeats). And one
of his best roles, one with much
contemporary relevance, a trouble-
making reporter dealing with a whis-
tle-blower in The Insider.
It has earned him eight Academy
Award nominations and one Oscar
(Best Actor for the troubled blind
colonel in Scent of a Woman). Hes
got accolades and honors galore.
In person, he comes across more
like the manic, wired bank robber in
Dog Day than the guy with the steely
of the wild Oscar Wilde play called
Salome? Is he finally ready to risk
releasing the newest versions of his
six-year-long passion project, as
the Hollywood cynics tend to call
such risky business?
I do it all the time, he says of the
way he makes trouble for himself.
Theres something about that dis-
covery, taking that chance. You have
to endure the other side of the risk.
The other side of the risk?
They said Dog Day [Afternoon] was
a risk, he recalls. When I did it, it was
like What are you doing? You just did
The Godfather. Youre going to play
this gay bank robber who wants to pay
sinister gravitas of Michael Corle-
one. Nevertheless, he likes to talk
about that role and analyze why it
became so culturally resonant.
Pacinos Michael Corleone em-
bodies perhaps better than any
other character the bitter unravel-
ing of the American dream in the
postwar 20th centuryheroism and
idealism succumbing to the corrupt
and murderous undercurrent of bad
blood and bad money. Watching it
again, the first two parts anyway,
it feels almost biblical: each scene
virtually carved in stone, a celluloid
Sistine Chapel painted with a brush
dipped in blood.
And its worth remembering that
Pacino almost lost the Michael Cor-
leone role because he troubled him-
self so much over the character. This
morning in Beverly Hills, he recounts
the way he fought for a contrarian
way of conceiving Michael, almost
getting himself red.
First of all, he didnt want to play
Michael at all. The part for me was
Sonny, he says, the hotheaded older
son of Marlon Brandos Godfather
played by James Caan. That is the
one I wanted to play. But Francis
[Ford Coppola, the director] saw me
as Michael. The studio didnt, every-
body else didnt want me in the movie
at all. Francis saw me as Michael, and
I thought How do I do this? I really
pondered over it. I lived on 91st and
Broadway then and Id walk all the
way to the Village and back ruminat-
ing. And I remember thinking the
only way I could do this is if, at the
end of the day, you dont really know
who he is. Kind of enigmatic.
It didnt go over well, the way he
held back so much at rst, playing
reticence, playing not-playing. If
you recall, in that opening wedding
scene he virtually shrinks into his
soldiers uniform. Everything to
me was Michaels emergencein
the transition, he says, and its not
something you see unfold right away.
You discover that.
That was one of the reasons they
were going to re me, he recalls. I was
unable to articulate that [the emer-
gence] to Francis.
Pacino admits his initial embodi-
ment of Michael looked like an ane-
mic shadow in the dailies the pro-
ducers were seeing. So they were
looking at the [rushes] every day
in the screening room and saying,
Whats this kid doing? Who is this
kid? Everybody thought I would be
let goincluding Brando, who was
extremely kind to me.
Pacino was mainly an of-Broadway
New York stage actor at that point,
with only one major lm role to his
name, a junkie in The Panic in Nee-
dle Park. He was risking what would
be the role of a lifetime, one that put
him alongside an acting immortal
like Brando, because he insisted that
the role be a process, that it t
the method he used as a stage
Pacinos Michael Corleone embodies perhaps
better than any other character the bitter
unraveling of the American dream in
the postwar 20th century.
Al Pacino INTERVIEW
P
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Innovation means anticipating challenges. Recognizing the growing complexity of naval warfare,
we created the Littoral Combat Ship (LCS). Giving it speed, agility, and the most networked sensors
of any surface combatant, to dominate coastal waters. Its one more example of our ongoing
commitment to those who are meeting the security challenges of today and tomorrow.
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FOR SHALLOW WATERS
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subject, he mentions the controversy
surrounding the revival of David
Mamets Glengarry Glen Ross. Hed
played the role of hotshot salesman
Ricky Roma to much acclaim in the
lm, but when he took on a diferent
part in a new version of the play
the older, sadder, loserish sales-
man played by Jack Lemmon in the
moviethere was trouble.
The other actors were not used to
Als extended process, wherein he
needs prolonged rehearsal time to
nd the character and often impro-
vises dialogue. The rehearsal process
stretched into the sold-out Broad-
way previews, sometimes leaving the
other actorswho were following
Mamets script faithfullylost. Which
led to what are often euphemistically
termed creative diferences.
Thus the Civil War battleeld,
Pacino says with a rueful shrug, the
shrapnel ying.
The fact that he uses the term civil
war is not an accident, I thinkit was
an exposure of the lifelong civil war
within himself about when the pro-
cess has to stop. Ideally for Pacino:
never. And it sounds like hes still got
PTSD from the Glengarry Glen Ross
civil war , cant stop talking about it.
I went through some real terrors,
he says. He wanted to discover his
character in the course of playing
him, wanted him to evolve, but Im
a guy who really needs four months
[to prepare a theater role]. I had four
weeks. So Im thinking Where am I?
What is this? What am I doing here?
And all of a sudden one of the actors
on stage turns to me and says, Shut
the f--- up!
Pacinos response: I wanted to say,
Lets keep that in. But I gured dont go
there. . . . And I kept saying, whatever
happened to out-of-town tryouts?
The play reportedly made money
but didnt please many critics. Pacino
actor. He studied with Lee Strasberg,
guru of Method acting, and he is now
co-president of the Actors Studio. I
always had this thing with lm, he
says. I had been in one, he says. And
[as a stage actor] I always had this sort
of distance between myself and lm.
What kept me in the movie, he re-
calls, was my good fortune that they
had shot the scene where Michael
shoots the cop [early on, out of se-
quence]. And I believe that was enough
for Francis to convince the powers that
be that they should keep me.
Pacinos process gets him in trouble
to this day. Before I even bring up the
nonetheless discovered something
crucial with his process, something
about himself and his father.
Its the rst time in many, many
years I learned something, he says.
Sometimes I would just say what I
was feeling. I was trying to channel
this character and . . . I felt as though
he was a dancer. So sometimes Id
start dancing. But then I realized
guess what, I just realized this today!
My father was a dancer and he was
a salesman. So I was channeling my
old man.
He talks about his father, whom
he didnt know well. His parents di-
vorced when he was 2 , and he grew
up with his mother and grandmother
in the South Bronx. And he remi-
nisces about the turning point in his
life, when a traveling theater group
bravely booked what Pacino remem-
bers as a huge movie theater in the
Bronx for a production of Chekhovs
The Seagull, which he saw with some
friends when he was 14.
And I was sitting with about ten
other people, that was it, he recalls.
But if you know the play, its about
the crazy, troubled intoxication of the
theater world, the communal, almost
maa-family closeness of a theatri-
cal troupe. I was mesmerized, he
recalls. I couldnt take my eyes of it.
Who knows what I was hearing ex-
cept that it was afecting. And I went
out and got all Chekhovs books, short
stories, and I was going to school in
Manhattan [the High School of Per-
forming Arts made famous by Fame ]
and I went to the Howard Johnson
there [in Times Square] at the time,
to have a little lunch. And there serv-
ing me was the lead in The Seagull!
And I look at this guy, this kid, and I
said to him, I saw you! I saw! you! In
the play!
Hes practically jumping out of his
porch chair at the memory.
And I said, It was great, you were
great in it. It was such an exchange,
Ill never forget it. And he was sort
of nice to me and I said, Im an ac-
tor! Aww, it was great. I live for that.
Thats what I remember.
That pure thingthe communal ide-
alism of actorsis at the root of the
troublemaking. The radical naked
acting ethos of the Living Theatre
was a big inuence too, he says, al-
most as much as Lee Strasberg and
the Actors Studio and the downtown
bohemian rebel ethos of the 60s.
In fact one of Pacinos main re-
grets is when he didnt make trouble.
I read somewhere, I tell him, that
you considered Michael killing [his
brother] Fredo at the end of Godfa-
ther II a mistake.
I do think that was a mistake,
Pacino replies. I think [that made]
the whole idea of Part III, the idea of
[Michael] feeling the guilt of it and
wanting forgivenessI dont think
the audience saw Michael that way
or wanted him to be that way. And
I didnt quite understand it myself.
Francis pulled [Godfather III]
off, as he always pulls things off, but
the original script was different. It
was changed primarily because
Robert Duvall turned down the part
Im a guy who really needs four months
[to prepare a theater role]. I had four weeks.
So Im thinking Where am I? What is this?
What am I doing here?
Al Pacino INTERVIEW

SMI THSONI AN.COM 27
all my life. And it makes sense be-
cause Pacino gives you the feeling
hes on to his own game, more Tony
Soprano than Michael Corleone.
As we discuss The Godfather, the
mention of Brando gets Pacino ex-
cited. When you see him in A Street-
car Named Desire, somehow hes
bringing a stage performance to the
screen. Something you can touch.
Its so exciting to watch! Ive never
seen anything on lm by an actor like
Marlon Brando in Streetcar on lm.
Its like he cuts through the screen!
Its like he burns right through. And
yet its got this poetry in it. Madness!
Madness!
I recall a quote from Brando. He
is supposed to have said, In stage
acting you have to show people what
youre thinking. But in lm acting
[because of the close-up] you only
have to think it.
of Tommy [Tom Hagen, the fam-
ily consigliere and Michaels step-
brother]. In the original script, Mi-
chael went to the Vatican because
his stepbrother, Robert Duvall/
Tom Hagen was killed there, and he
wanted to investigate that murder
and find the killers. That was his
motivation. Different movie. But
when Bob turned it down, Francis
went in that other direction.
What emerges from this is his own
analysis of Michael Corleones appeal
as a character, why he connected so
deeply with the audience.
You didnt feel Michael really
needed redemption or wanted re-
demption? I asked.
I dont think the audience wanted
to see that, he says. He didnt ever
think of himself as a gangster. He was
torn by something, so he was a person
in conict and had trouble knowing
who he was. It was an interesting ap-
proach and Francis took it very he
paused . But I dont think audiences
wanted to see that.
What the audiences wanted, Pa-
cino thinks, is Michaels strength:
To see him become more like the
Godfather, that person we all want,
sometimes in this harsh world,
when we need somebody to help us.
Channel surfing, he says, he re-
cently watched the first Godfather
movie again and he was struck by
the power of the opening scene, the
one in which the undertaker says to
the Godfather, I believed in Amer-
ica. He believed, but as Pacino puts
it, Everybodys failed you, every-
things failed you. Theres only one
person who can help you and its
this guy behind the desk. And the
world was hooked! The world was
hooked! Hes that figure thats going
to help us all.
Michael Corleones spiritual suc-
cessor, Tony Soprano, is a terrific
character, but perhaps too much like
us, too neurotic to offer what Mi-
chael Corleone promises. Though in
real life, Pacino and Tony Soprano
have something in common. Pacino
confides to me something Id never
read before: Ive been in therapy
You just put a close-up in there
D.W. Griffithboom! Done deal. Its
magic! Of course! You could see that
in Salome today.
Hes talking about the way he
made an electrifying film out of
what is essentially a stage version
of the play. (And then another film
hes called Wilde Salome about
the making of Salome and the un-
making of Oscar Wilde.) Over the
previous couple of days, Id gone
down to a Santa Monica screening
room to watch both movies (which
hes been cutting and reshaping for
years now).
But he feelsafter six yearshes
got it right, at last. See what those
close-ups x on? Pacino asks. See
that girl in the close-ups?
That girl is Jessica Chastain,
whose incendiary performance cli-
maxes in a close-up of her licking the
Its like Pacino has been shielding the sensual
equivalent of highly radioactive plutonium
for the six years since the play was lmed,
almost afraid to unleash it on the world.
Yeah, says Al. I think hes got a
point there.
Its more than that in factthe
Brando quote goes to the heart of
what is Pacinos dilemma, the con-
ict hes desperately been trying to
reconcile in his Salome lms. The
clash between what lm gives an ac-
torthe intimacy of close-up, which
obviates the need for posturing and
overemphatic gesturing needed to
reach the balcony in theaterand
the electricity, the adrenaline, which
Pacino has said, changes the chem-
icals in your brain, of the live-wire
act that is stage acting.
Indeed, Pacino likes to cite a line he
heard from a member of the Flying
Wallendas, the tight-rope-walking
trapeze act: Life is on the wire, ev-
erything else is just waiting. And he
thinks hes found a way to bring the
wired energy of the stage to film and
the film close-up to the stage. Film
started with the close-up, he says.
blood lasciviously from the severed
head of John the Baptist.
I had to admit that watching the
film of the play, it didnt play like a
playno filming of the proscenium
arch with the actors strutting and
fretting in the middle distance. The
camera was onstage, weaving in and
around, right up in the actors faces.
And heres Pacinos dream of acting,
the mission hes on with Salome:
My big thing is I want to put the-
ater on the screen, he says. And how
do you do that? The close-up. By tak-
ing that sense of live theater to the
screen.
The faces become the stage in a
way?
And yet youre still getting
the benefit of the language.

CONTINUED ON PAGE 86
But Salome is dierent, he says. To
begin at the beginning would be to
begin 20 years ago when he rst saw
Salome onstage in London with the
brilliant, eccentric Steven Berkof
playing King Herod in a celebrated,
slow-motion, white-faced, postmod-
ernist production. Pacino recalls
that at the time he didnt even know
it was written by Oscar Wilde and
didnt know Wildes personal story
or its tragic end. I hadnt realized that
the Irish-born playwright, author of
The Picture of Dorian Gray and The
Importance of Being Earnest, racon-
teur, aphorist, showman and now
gay icon, had died from an infection
that festered in prison where he was
serving a term for gross indecency.
Salome takes of from the New Tes-
tament story about the stepdaughter of
King Herod (played with a demented
lasciviousness by Pacino). In the lm,
Salome unsuccessfully tries to seduce
the god-maddened John the Baptist,
King Herods prisoner, and then, en-
Those people arent doing anything
but acting. But to see them, talk with
them in your face. . . .
Pacino has a reputation for work-
ing on self-financed film projects,
obsessing over them for years,
screening them only for small cir-
cles of friends. Last time I saw him
it was The Local Stigmatic, a film
based on a play by British avant-
garde dramatist Heathcote Wil-
liams about two lowlife London
thugs (Pacino plays one) who beat
up a B-level screen celebrity they
meet in a bar just because they hate
celebrity. (Hmm. Some projection
going on in that project?) Pacino
has finally released Stigmatic, along
with the even more obscure Chinese
Coffee, in a boxed DVD set.
raged at his rebuf, she agrees to her
stepfathers lustful pleas to do the lu-
rid dance of the seven veils for him
in order to extract a hideous promise
in return: She wants the severed head
of John the Baptist delivered to her on
a silver platter.
Its all highly charged, hieratic,
erotic and climaxes with Jessica
Chastain, impossibly sensual, be-
stowing a bloody kiss upon the sev-
ered head and licking her lips. Its not
for the faint of heart, but Chastains
performance is unforgettable. Its like
Pacino has been shielding the sensual
equivalent of highly radioactive plu-
tonium for the six years since the per-
formance was lmed, almost afraid to
unleash it on the world.
After I saw it, I asked Pacino, Where
did you nd Jessica Chastain?
He smiles. I had heard about her
from Marthe Keller [an ex-girlfriend
and co-star in Bobby Deereld]. She
told me, Theres this girl at Juilliard.
And she just walked in and started
reading. And I turned to Robert Fox,
this great English producer, and I
said, Robert, are you seeing what Im
seeing? Shes a prodigy! I was looking
at Marlon Brando! This girl, I never
saw anything like it. So I just said,
OK honey, youre my Salome, thats
it. People who saw her in thisTerry
Malick saw her in [a screening of ] Sa-
lome, cast her in Tree of Lifethey all
just said, come with me, come with
me. She became the most sought-af-
ter actress. [Chastain has since been
nominated for Academy Awards
in The Help and Zero Dark Thirty.]
When she circles John the Bap-
tist, she just circles him and circles
him. . . He drifts off into a reverie.
Meanwhile, Pacino has been doing
a lot of circling himself. Thats what
the second lm, Wilde Salome, the
Looking for Oscar Wilde-type docu-
drama, does: circle around the play
and the playwright. Pacino manages
to tell the story
He thinks hes found a way to bring the
wired energy of the stage to film and the film
close-up to the stage. Film started with
the close-up, he says. Its magic!
Pacino chose actor Jessica Chastain to play Salomeit was her rst lm.
Al Pacino INTERVIEW
S
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uan Carlos Navarro delights in point-
ing out that John Keats got it all wrong
in his sonnet On First Looking into
Chapmans Homer. The Romantic
poet, he says, not only misidentied
the rst European to glimpse the Pa-
cic Ocean, but his account of the
mountain looming over a tropical wil-
derness in what is now Panama was,
by any stretch, overly romantic.
Navarro, an environmentalist who
served two terms as the mayor of Pan-
ama City and is the early favorite in
his countrys 2014 presidential elec-
tions, notes that it was actually the
Spanish conquistador Vasco Nez
de Balboa who did the glimpsing, and
that countryman Hernn Cortsthe
cutthroat conqueror of the Aztec Em-
pirewasnt even in the neighborhood
during the 1513 isthmus crossing.
Nor was the peakPechito Parado
technically in Darin, the rst perma-
nent mainland European settlement
in the New World. Today, the Darin
is a sparsely populated region of Pan-
ama, says Navarro, the only presi-
dential candidate who has ever cam-
paigned there. In Balboas day, it was
just a townSanta Mara la Antigua
del Darinon the Caribbean side.
Of all the inaccuracies in the sestet,
the one Navarro nds the most laugh-
able is the reaction of the expedition
party after spotting the Pacic, which,
to be persnickety, Balboa named Mar
del Sur (the South Sea). The look of
the men hardly could have been one
of wild surmise, Navarro says, dis-
dainfully. Before starting his journey,
Balboa knew pretty much what hed
discover and what he could expect to
nd along the way.
The same cant be said for my own
Darin adventure, a weeklong trudge
thats anything but poetry in motion. As
Navarro and I lurch up Pechito
Parado on this misty spring
Tracking
Balboa
Five hundred years after the explorer
spied the Pacific, we retrace his epic slog
by Franz Lidz HISTORY
Or like stout Cortez
when with eagle eyes
He stard at the Pacic
and all his men
Lookd at each other
with a wild surmise
Silent, upon a peak
in Darin.
JOHN KEATS
A
L
E
X
A
N
D
E
R

A
R
O
S
E
M
E
N
A

Imagine what Balboa thought as
he hiked through the rainforest, says
Navarro while pausing beside the spiny
trunk of a sandbox tree, whose sap can
cause blindness. He had just escaped
from the Spanish colony of Hispan-
iolathe island that comprises pres-
ent-day Haiti and the Dominican Re-
publican arid, spare place with a rigid
system of morality. He lands in a humid
jungle teeming with exotic wildlife and
people who speak a magical, musical
language. Hes told that not far of are
huge amounts of gold and pearls and an
even huger sea. He probably thought,
Im gonna be rich! For him, the Darin
must have been mind-blowing.
This month marks the 500th an-
niversary of the exploration that not
only blew Balboas mind, but eventu-
ally caused him to lose his head. (Liter-
ally: Based on false charges brought by
Pedro Arias Dvila, the father-in-law
who had displaced him as governor
of Darin, Balboa was decapitated in
1519.) The occasion is being celebrated
with great fanfare in Panama City,
where the crossing was a theme of this
years annual carnival. Nearly a mil-
lion people took part in the ve days of
spectacles, which featured a 50-oat
parade, 48 conga-dancing groups and
10 culecos enormous trucks that
blast music and drench spectators
with (somewhat inaptly) tap water.
While conquistadors like Corts
and Francisco Pizarro are reviled
throughout Latin America for their
monstrous cruelty, the somewhat
less ruthless but equally brutal Bal-
boa (he ordered native chieftains to
be tortured and murdered for failing
to bend to his demands, and gay in-
digenes to be torn to pieces by dogs)
is revered in Panama. Statues of the
explorer abound in city parks, coins
bear his likeness, the currency and
the nations favorite beer are named
morning, I realize it isnt a peak at all,
but a sharply sloped hillock. We plod
in the thickening heat through thorny
underbrush, across massive root but-
tresses and over caravans of leaf-cut-
ter ants bearing banners of pale purple
membrillo owers. The raucous bark
of howler monkeys and the deafen-
ing cry of chicken-like chachalacas
are constant, a Niagara of noise that
gushes between the cuipo trees that
tower into the canopy. The late humor-
ist Will Cuppy wrote that the howl of
the howler was caused by a large hyoid
bone at the top of the trachea, and could
be cured by a simple operation on the
neck with an ax.
for him, and the Panama Canals nal
Pacic lock is the Port of Balboa.
As depicted in Balboa of Darin,
Kathleen Romolis indispensable 1953
biography, the Spanish-born merce-
nary was as resourceful as he was po-
litically nave. Balboas greatest weak-
ness, she observed, was his lovable
and unfortunate inability to keep his
animosities alive. (He underestimated
Dvila even after Daddy-in-Law Dear-
est had him put under house arrest,
locked him in a cage and ordered his
head to be chopped of and jammed on
a pole in the village square.)
Navarro argues that Balboas rel-
atively humane policies toward in-
digenous people (befriending those
who tolerated his soldiers and their
gold lust) put him several notches
above his fellow conquistadors. He
was the only one willing to immerse
himself in the native culture, says
Navarro. In Panama, we recognize
the profound signicance of Balboas
achievement and tend to forgive his
grievous sins. He was consumed by
ambition and lacking in humanity
and generosity. Was he guilty of being
part of the Spanish power structure?
He was guilty as hell. He was also an
authentic visionary.
Navarro has been following in Bal-
boas bootsteps since the summer of
1984. He had graduated from Dart-
mouth College and was about to begin
a masters program in public policy
at Harvard University. Balboa was
my childhood hero, and I wanted to
relive his adventure, he says. So my
older brother Eduardo and I got some
camping gear, hired three Kuna In-
dian guides and started from the Ro
Aglaitiguar. When we reached the
mountains at dawn on the third day,
the guides warned us that evil spirits
inhabited the forest. The Kuna re-
fused to go farther. For the nal nine
days we had to muddle through the
jungle on our own.
I accompanied Navarro on his sec-
ond traverse, in 1997. He was then 35
and running the National Association
for the Conservation of Nature (An-
con), the privately funded nonprot
he started that became one of the
most efective environmental outts
in Central America. In defense of the
Darin, he prevailed against pow-
erful lumber barons, getting tarifs
on imported lumber abolished; lob-
bied successfully for the creation of
ve national parks; and discouraged
poaching by setting up community
agro-forestry farms. On his watch, An-
con bought a 75,000-acre cattle ranch
that bordered the Gulf of San Miguel
and turned it into Punta Patio, Pan-
amas rst and still largest private
nature preserve. Now 51 and the
presidential candidate of the Partido
Revolucionario Democrtico (PRD),
hes a bit rounder around the middle
and his face has some well-earned
lines, but his enthusiasm is scarcely
diminished. Despite the atrocities
Balboa committed, Navarro says,
We plod in the thickening heat through thorny
underbrush, across massive root buttresses
and over caravans of leaf-cutter ants bearing
banners of pale purple membrillo owers.
Exploration HISTORY

Today, Santa Mara no longer ex-
ists. The colonial town was aban-
doned soon after Balboas beheading,
and, in 1524, was burned down by the
indigenous people. The area is now
a refuge for Colombian guerrillas
known as the Revolutionary Armed
Forces of Colombia (FARC). Which
is why we launch the trek in Puerto
Obaldia, a tiny village some 30 miles
north, and why the frontier police
that accompany us wear bandoleers
and shoulder M-16s and AK-47s.
Our small retinue is drawn from the
three cultures of the region: Choc , Af-
ro-Darienite and Kuna, whose village
of Armila is the rst along the trail.
The Kuna are notoriously generous
and hospitable. They hold a sponta-
neous evening jam session, serenad-
ing my party with maracas, pan utes
and song. We all join in and toast them
with bottles of Balboa beer .
The following morning I befriend a
scrawny, tawny junkyard dog, one of
the many strays that scavenge
the Armila streets. I wonder
he brought to the Darin an attitude
of discovery and empathy and won-
derment.
The leader of our last Darin Gap
trek was ANCON naturalist Hernn
Arauz , son of Panamas foremost ex-
plorer and its most accomplished
anthropologist. Afable, wittily fatal-
istic and packed with a limitless fund
of Balboa lore, he shepherds hikers
through ant swarms and snake strikes
while plying a machete the size of a
gatepost. Alas, Arauz cant escort
me this time around, and Navarro
is unable to join the expedition un-
til Pechito Parado. As a consolation,
Arauz leaves me with the prayer a dy-
ing conquistador is said to have chis-
eled in rock in the Gulf of San Miguel:
When you go to the Darin, com-
mend yourself to the Virgin Mary.
For in her hands is the way in; and in
Gods, the way out.
Ever since Balboa took a short walk
across a long continent, the swamp
forests that fuse the Americas have
functioned as a gateway. Theyre also a
divider, forming a 100-mile strip thats
the only break between the northern
section of the 30,000-mile Pan-Amer-
ican Highway, which starts in Alaska,
and the southern part, by which you
can drive to the Strait of Magellan.
Half a millennium later, theres still
no road through the territory.
When Balboa made his 70-mile slog
through this rough country, he was
governor of Darin. Sure that he would
provide the Spanish a faster passage
to the spices of the Indies, he had
petitioned King Ferdinand for men,
arms and provisions. While awaiting
a response, the conquistadorhaving
crushed a plot by local natives to burn
Santa Mara la Antigua del Darin, and
held a settler insurrection at baynot-
so-wildly surmised that intriguers in
Seville were scheming to have him re-
called. He set of on September 1 with
a force of 190 heavily armed Spaniards
and hundreds of Native American
warriors and porters, some of whom
knew the way.
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ants strut up my socks and ignite
four-alarm blazes. Bullet ants are
equally alarming. Of all the worlds
insects, their sting is supposed to be
the most painful. Arauzs secret to
knowing when marauding soldier
ants are on the move? The sweet bell
tones of antbirds that prey on them
eeing a swarm.
Darin wildlife is spectacularly
varied. We chance upon an astound-
ing array of mammal tracks: tapirs,
pumas, ocelots and white-lipped
peccaries, a kind of wild hog that
roves in herds of up to 200. In case
of a peccary charge, Arauz suggested
that I climb at least eight feet up in
a nearby tree since they reputedly
have the ability to piggyback. I know
of a hunter who shared a tree with a
jaguar while a pack passed beneath
them, he told me. The hunter swore
the worst part was the smell of the
cats intestinal gas.
At a Choc encampment, we dine on
peccary stew. I remember Arauzs yarn
about a campre meal his parents had
with the Choc on the National Geo-
graphic Societys 1960 trans-Darin
expedition. His dad looked into a pot
and noticed a clump of rice bubbling
to the surface. He looked a little closer
and realized the rice was embedded in
the nose of a monkey. The Choc chef
conded that the tastiest rice was al-
ways clenched in the monkeys st.
Too late, Arauz said. My father had
already lost his appetite.
Through a translator, I recite the
tale to our Choc chef. He listens in-
tently and, without a tickle of irony,
adds that the same monkey would
have yielded three pints of cacarica
fruit punch. It turns out Chocs have
a delicious sense of humor. I know
this because one of our Choc porters
laughs uproariously whenever I try to
dismantle my tent. I laugh uneasily
when he shows me the three-foot pit
if he could have possibly descended
from Leoncico, the yellow mutt that,
in 1510, famously stowed away with
Balboa on a ship bound for the Darin.
Sired by Becerrillo, the warrior dog of
Juan Ponce de Len, Leoncico was so
erce that Balboa later awarded him a
bowmans pay and a gold collar. This
pooch doesnt look lively enough to
chase a paperboy.
I wish I could say as much for
Darin insects. Into the rainforest
I have brought reckless optimism, a
book on native birds and what I had
hoped was enough bug spray to ex-
terminate Mothra. I miscalculated.
As I slog through the leaf litter on the
forest oor, the entire crawling army
of the jungle seems to be guarding
it: Mosquitoes nip at my bare arms;
boties try to burrow into them; re
the foot of Pechito Parado. According
to legend, he and Leoncico clambered
up the rise together, conquistador and
conquistadog. From a hilltop clearing
Balboa looked south, saw a vast ex-
panse of water and, dropping to his
knees, raised eyes and arms heaven-
ward. Then he called his men to join
him. Erecting a pile of stones and a
cross (Balboa would understandably
build something the size of his ego,
allows Navarro), they sang a Catholic
hymn of thanksgiving.
No monument marks the spot of
Balboas celebrated sighting. The only
sign of humanity is a circle of stones
in which a Bible, sheathed in plastic,
lays open to the Book of Matthew.
Having summited the historic peak,
I, too, raise my sts in exultation.
Rather than commend myself to the
Virgin Mary, I peer at the cloudless
sky and repeat a line from a 20th-cen-
tury Balboa: Yo, Adrian!
If Balboa had a rocky start, he had
a Rocky finish. On September 29,
1513 St. Michaels Dayhe and 26
handpicked campaeros in full armor
marched to the beach. He had seen
breakers from afar, but now an unin-
viting sand at stretched for a mile or
more. He had mufed the tides. Obliged
to at least stand in ocean he was about
to own, Balboa lingered at the seas
edge till the tide turned. Like a true
conqueror, Navarro observes, he
waited for the ocean to come to him.
When it nally did, Balboa waded into
the salty waters of the gulf he would
name San Miguel. Brandishing a stan-
dard of Madonna in his right hand and
a raised sword in his left, he claimed
the whole shebang (not quite knowing
exactly how big a shebang it was) for
God and Spain.
My own party skips the beachhead.
Hopping aboard the piragua, Navarro
and I head for the backwater settle-
ment of Cucunati. For three years
Navarro has been canvassing
voters across Panama, from
From a hilltop clearing Balboa looked south,
saw a vast expanse of water and, dropping to
his knees, raised eyes and arms heavenward.
Then he called his men to join him.
Exploration HISTORY
viper he has hacked in half beside my
backpack.
The jungle air is heavy and moist;
the tropical sun, unrelenting. When the
Darin gets too dense to chop through
with machetes, our guides navigate like
sailors in a fog, with a compass, count-
ing their steps to measure how far weve
gone and when to change directions.
We average seven or eight miles a day.
During the homestretch I cheat a
littleOK, a lotby riding in a pira-
gua. With Navarro in the prow, the
motorized dugout cruises past the
patchwork of cornelds and pastures
that have supplanted Balboas jungle.
Sandbanks erupt in buttery confetti
as our canoe putters by. Balboa for-
aged through this countryside until
September 25 (or possibly the 27th
the facts in the travel records dont
match), when his procession reached

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limbo, nicknamed the turista tree be-
cause its burnt umber bark is contin-
ually peeling. Nearby is a toothpaste
tree, so named because it oozes a milky
sap that has proven to be an efective
dentifrice when used in a conscien-
tiously applied program of oral hy-
giene and regular professional care.
Twined around an enormous cuipo is a
strangler g. I call this g a politician
tree, says Navarro. Its a parasite, its
useless and it sucks its host dry.
Five hundred years after Balboa
led a straggle of Spanish colonialists
from the Caribbean across to the
Pacic, the wilderness he crossed is
imperiled by logging, poaching, nar-
co-trafficking and slash-and-burn
farming. The biggest obstacle is 500
years of neglect, says Navarro, who,
if elected, plans to seat an Indian
leader in his cabinet, transfer control
of water treatment and hydroelectric
plants to local government, and form
a new agency to guarantee sustained
investment in indigenous areas.
None of the native peoples Balboa
encountered in 1513 exist in 2013.
The current inhabitants migrated
to the Darin over the last several
hundred years. Diseases and colo-
nial wars brought by the Europeans
basically wiped out the Indian pop-
ulations, says Navarro. The tragic
irony was that the Spanish conquest
helped preserve the rainforest. The
Indians had stripped much of the
jungle to plant corn. In a strange
way, the human holocaust Balboa
unleashed was the Darins salva-
tion. The conquistador, he says, was
an accidental greenie.
Nested inside Arauzs home on
the outskirts of Panama City are the
weird and wonderful oddities he
and his parents accumulated during
their travels in the Darin. Among
the bric-a-brac is a tooth from a giant
prehistoric shark that once cruised
the big, shiny cities to frontier out-
posts where no presidential hopeful
has gone before. At an impromptu
town meeting in Cucunati, residents
air their frustrations about the lack
of electricity, running water and ed-
ucational funding. One out of four
Panamanians live in poverty, and 90
percent of them live in indigenous
comarcas, Navarro later says. The
conditions in these rural commu-
nities are not unlike what Balboa
encountered. Unfortunately, the In-
dians of the Darin are not on the gov-
ernments radar.
On a boat to the Punta Patio re-
serve, Navarro points out the gumbo
the channels, a colorful mola (cloth
panel) bestowed on his mother by a
Kuna chief and a Spanish soldiers
tizona (El Cids signature sword)
Hernn bought off a drunk in the
interior. Arauz particularly prizes
a photo album devoted to the 1960
trans-Darin expedition. He was, af-
ter all, conceived during the journey.
On the walls of his living room are
65 original maps and engravings of
the Caribbean from ve centuries;
the earliest dates to 1590. Many are
as cartographically challenged as a
Keats poem. Some show the Pacic in
the east, a mistake thats easy to make
if you think the earth is at. Others
ignore all inland features, focusing
entirely on coastlines. One rendering
of the Gulf of Panamawhich Balboa
once sailed acrossfeatures a grossly
oversize Chame Point peninsula , an
error perhaps deliberately made by
Dutch surveyors feeling heat to come
up with something fresh to justify
their expense accounts.
Arauz masterfully applies his jun-
gle know-how to antique maps of the
Darin. Three years ago the Library
of Congress awarded him a research
fellowship. While in Washington,
D.C., he spent a lot of time gazing at
the Waldseemller Map, a 12-sec-
tion woodcut print of the world so
old that the intended users biggest
concern would have been sailing
over the edge of it. Published at a
French monastery in 150715 years
after Columbus rst voyage to the
New Worldthe chart casts serious
doubt on Balboas claim.
The Waldseemller Map was the
rst to show a separate continent
in the Western Hemisphere and to
bear the legend America. It sug-
gests that Portuguese navigators
rst explored the west coast of South
America and ventured north as far
as Acapulco. The shoreline of Chile
is rendered so accurately that some
believe it must have been based on
rsthand knowledge.
Even if it were, argues Arauz, the
navigators didnt discover anything.
Discovery implies uncovering and
making the world aware, he in-
sists. Had the date been correct, the
Spanish Crown would have certainly
known about it. They were quite good
at cartographic spying and ferreting
out the geographical knowledge of ri-
val nations.
The Spanish kept a large secret map
called the Padrn Real in Seville that
was updated as soon as each expedi-
tion returned. This master schema of
the known world was used as a treasure
map to the worlds riches. As late as
1529, the Chilean coast didnt appear
on the Padrn Real, says Arauz, with
the most mischievous of grins. That
tells me Balboa really was the Man
that, atop Pechito Parado, he spied the
Pacic before any other European.
The conquistador had left his mark.
He hadone could safely sayput
himself on the map.
None of the native peoples Balboa
encountered in 1513 exist in 2013. The current
inhabitants migrated to the Darin over the
last several hundred years.
Exploration HISTORY

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C
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Unlike the chest-beating
primates of popular
imagination, Brazils
northern muriquis are
easygoing and highly
cooperative.

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NO ALPHA
MALES
ALLOWED
Peace-loving
South American
monkeys and the
U.S. scientist who
champions their
future encourage
us to rethink our
aggressive nature
by S T E V E K E M P E R
ITS 9 OCLOCK ON A JUNE MORNING IN A MUGGY TROPICAL FOREST
not far from Brazils Atlantic coast and brown howler monkeys have
been roaring for an hour. But the muriquisthe largest primates in
the Americas after human beings, and the animals that the anthro-
pologist Karen Strier and I have hued uphill to seeare still curled
high in the crooks of trees, waiting for the morning sun to warm them .
As they begin to stir, the adults scratch, stretch and watch the
suddenly frisky youngsters without moving much themselves. A few
languidly grab leaves for breakfast. They are striking gures, with fur
that varies between gray, light brown and russet. Their black faces
inspired the Brazilian nickname charcoal monkey, after the sooty
features of charcoal makers.
Strier knows these faces well. At age 54, the University of Wiscon-
sin-Madison professor has been observing muriquis here for three
decades. One of the longest-running studies of its kind, it has up-
ended conventional wisdom about primates and may have a surpris-
ing thing or two to say about human nature.
Louise! Strier says, spotting one of her old familiars. Louise be-
longs to Striers original study group of 23clssicos, Striers Bra-
zilian students call them. Shes the only female whos never had a
baby, says Strier. Her friends are some of the old girls.
Above us, two youngsters frolic near their mother. Thats Barbara,
says Strier, and her 3-year-old twins Bamba and Beleco . Female
muriquis typically emigrate out of their natal group at about age 6,
but Barbara has never left hers, the Mato study group, named after
a valley that bisects this part of the forest. Even today, more than two

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hippie primates, the muriquis in
Striers study site are equally de-
serving of that reputation. They are
peace-loving and tolerant. Strier also
showed that the muriquis turn out to
be incredibly cooperative, a charac-
teristic that may be just as important
in primate societies as vicious rivalry.
Striers ideas shook up primatology,
making her an inuential gure in the
eld. Her widely used textbook, Primate
Behavioral Ecology, is in its fourth edi-
tion and has no peers, according to the
American Society of Primatologists. In
2005, at age 45, Strier was elected to the
National Academy of Sciences, a rare
honor. The University of Wisconsin
recently recognized her with an en-
dowed professorship. The money is
being used to support her research in
Brazil, where the muriquis she knows
so well continue to surprise her.
Lately, theyve been doing something
arboreal primates arent supposed
to do. In an unusual behavioral twist,
theyre coming down out of the trees.
Muriquis are acrobats, spending
much of the day swinging through
the treetops in search of food. They
ride branches down and scurry across
vines like tightrope walkers. Hanging
fully extended, muriquis appear ve
feet tall but weigh only 20 pounds, an
elongated physique allowing for quick
and astonishingly nimble movement.
As Strier and I walk through the
forest, the muriquis sound like a herd
of horses ying overhead. They neigh
to maintain long-distance contact. A
staccato hnk hnk hnk keeps them out
of one anothers way, and an excited
chirp summons the others when a
monkey has found a fruiting tree.
Muriquis cooperative behaviors are
often on display when theyre eating.
A few days into my visit, Strier and I
watch nine males demonstrate their
manners as they eat pods in a legume
tree. When one monkey scoots past an-
other on a branch, it pauses to hug its
neighbor, as if to say, Pardon, so sorry.
Muriquis almost never ght over
food with members of their own
group. They will chase howler mon-
keys or capuchins out of fruiting trees,
and they loudly protest incursions by
mate with any female they choose. We
picture, as Goodall had witnessed be-
ginning in 1974, chimpanzees invad-
ing other territories, biting and beating
other chimps to death. Primates, in-
cluding possibly the most violent one
of allusseemed to be born ruf ans.
In reality, as Striers work would
underscore, the primates are a varied
group, with diverse social structures
and far more complex behavior. De-
scended from a tree-dwelling ancestor
living some 55 million years ago in Af-
rica or Asia, the group includes tarsiers,
lemurs, lorises, monkeys, apes (such as
gorillas, chimps, bonobos, gibbons) and
hominids. Monkeys, characterized by
long tails and at, hairless faces, are
generally divided into two types: Old
World monkeys, such as baboons and
macaques, live in Asia and Africa. New
World monkeys, including muriquis,
are descended from ancestors that
found their way from Africa to South
America perhaps 35 million years ago.
For a long time, New World mon-
keys were the second-class citizens
of primatology. New World primates
were considered not so smart, not so
interesting, and not so relevant to hu-
man evolution, says Frans de Waal,
director of the Living Links Center at
Emory Universitys Yerkes National
Primate Research Center. They were
sidelinedtotally inappropriately, as
Karen has demonstrated.
Striers research introduced the
world to an alternative primate life-
style. Female muriquis mate with a
lot of males and males dont often
fight. Though bonobos, known for
their casual sex, are often called the
years after I visited Brazil, Barbara
remains in the group.
Strier rst came to this federally
protected reserve in 1982, at the in-
vitation of Russell Mittermeier, now
president of Conservation Interna-
tional and chairman of the primate
specialist group of the International
Union for Conservation of Natures
Species Survival Commission , who
had been conducting a survey of pri-
mates in eastern Brazil. The reserve
at the time held only about 50 mu-
riquis, and Strier, a Harvard graduate
student , was smitten with the lanky
creatures cavorting in the canopy .
As soon as I saw the muriquis,
says Strier, I said, This is it. She
stayed for two months and then re-
turned for 14 more.
In those days, to reach this patch of
forest she rode a bus almost 40 miles
from the nearest town and walked
the last mile to a simple house with-
out electricity . Often alone, she rose
before dawn to look for the monkeys
and didnt leave the forest until they
had settled down at dusk. She cut her
own network of footpaths, collecting
data on births, relationships, diets,
dispositions, daily locations and emi-
grations. At night, she sorted the data
by the light of gas lanterns.
As my contact with the animals in-
creased, they introduced me to new
species of food that they ate, and al-
lowed me to witness new behaviors,
Strier wrote in her 1992 book Faces
in the Forest, now a classic of pri-
matology. As a personal account of a
eld biologists extraordinary, often
lonely eforts to become acquainted
with a wild primate, Striers work has
been compared to Jane Goodalls In
the Shadow of Man and Dian Fosseys
Gorillas in the Mist.
When Strier was first getting to
know the muriquis, primatology was
still largely focused on just a handful of
species that had adapted to life on the
ground, including baboons, or that had
close evolutionary relationships with
humans, such as apes. This emphasis
came to shape public perception of
primates as essentially aggressive. We
picture chest-beating, teeth-ashing
dominant male gorillas competing to
Rio de Janeiro
Northern
muriqui
Feliciano
Miguel
Abdala
Reserve
Southern
muriqui
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of Man the Hunted: Primates, Pred-
ators, and Human Evolution, that
everybody is out for themselves, and
that the people at the top are by na-
ture superior. But theres now lots
of evidence that competition among
primates only occurs when the envi-
ronment changes because of outside
inuence. The ultimate goal of evolu-
tion is to reach an ecological equilib-
rium and avoid competition and ag-
gression, a very diferent point of view.
Karen Strier has become one of the
leaders in this alternative paradigm
about the evolution of cooperation.
So as not to inuence the behavior
of the muriquis themselves, Strier de-
cided at the start only to observe them
and not interact with them. She has
never trapped or tranquilized a monkey
to take a blood sample or to af x a radio
collar, and she wont use feeding sta-
tions to lure them to convenient spots
ationmore than was generally ac-
knowledged. In 1994 she wrote a paper
titled Myth of the Typical Primate that
urged her colleagues to reconsider the
emphasis on aggression as a mediator of
primate relationships, which prevailed
despite repeated eforts to demonstrate
the limitations of such arguments. She
contended that the roots of primate so-
cial behavior, including that of people,
might be more accurately reected in
the exibility, tolerance, cooperation
and afection that predominate among
most primates, and that these qualities
are at least as recognizably human as
aggressiveness, competition and self-
ishness. Striers paper was pivotal in
initiating a new way of thinking about
primate behavior.
We have this idea that competition
is good, says Robert Sussman, pro-
fessor of anthropology at Washington
University in St. Louis and co-author
muriquis from other parts of the for-
est. But males and females, young and
old, behave toward members of their
own group in ways that can fairly be
described as considerate.
Some of the muriquis in the le-
gume tree exchange little pats as they
brush by each other. Two of them, on
a short break from eating, sit haunch
to haunch, one resting his hand on
top of the others head. Before they
resume picking pods, they hug.
Affectionate gestures, including
full-body face-to-face embraces, are
common. Its not unusual to see ve
or more muriquis in a tangled furry
cuddle. Strier says that some males
become more popular as they age,
and younger males seek the company
of the elders and solicit hugs during
times of tension. Squabbles are rare.
Maybe their drive for social cohesion
and conformity is much stronger than
their aggression, says Strier.
They also tend to be easygoing about
the other big activity that agitates al-
most all other primates: sex. Unlike
chimpanzees and baboons, male mu-
riquis dont attack rivals to keep them
from females, Strier says. There are no
alphas in these societies, so muriqui
twosomes dont have to sneak of to
evade punishment by jealous suitors.
Whats more, female muriquis dont
need to form coalitions to protect in-
fants from murderous males. Strier
has called muriqui mating a passive
afair. Males dont chase down females
or bully them into sexual submission.
Instead, a male waits for an invitation
from a female, who selects her partners
and copulates openly. Instead of bat-
tling each other for access to females,
males bond into extensive brother-
hoods, and Strier suspects they have
replaced ghting with sperm com-
petition. In proportion to their slight
frames, muriquis have oversized testi-
cles. It may be that the male producing
the most sperm has the most tickets in
the reproductive raf e.
When Strier first observed these
behaviors, she thought muriquis were
anomalies in the primate world. But as
research documented the behaviors of
a broader range of primates, Strier re-
alized there was actually a lot of vari-
AT FIRST, KAREN
STRIER THOUGHT
MURIQUIS WERE
ANOMALIES

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some of the key people there, the rich-
est country on earth for primates.
Her research is situated in the
2,365-acre federally protected Res-
erva Particular do Patrimnio Natu-
ral Feliciano Miguel Abdala , named
after the cofee farmer who owned
the land. After Abdalas death in 2000,
his heirs followed his wishes and put
the forest into permanent trust as a
reserve. More than four dozen Brazil-
ian students have conducted research
there under Strier, with pairs and trios
rotating in and out every 14 months.
Strier typically spends about a month
each year at the reserve, conversing
with the students and making quips in
Portuguese, which she studied for one
semester but largely picked up during
her eldwork. She spends the rest of
her time in Madison, where she lives
with her husband and their cats. She
prefers dogs, but her travel schedule
makes caring for them dif cult.
Acting on her profound concern for
the muriquis future, she has discussed
in public lectures and scientic papers
the need for national and international
investment in wildlife preservation and
for educational programs and employ-
ment opportunities that get the local
community involved. She is a key mem-
ber of the committee that advises the
Brazilian government on its plans for
habitat. But Strier didnt see the envi-
ronment as an obstacle; she wanted to
know how the monkeys adapt.
Born in New Jersey, Strier grew up
in southern California, western New
York and then Maryland. She enjoyed
the outdoors, hiking and backpacking
with friends, but she doesnt trace her
deep fascination with primates to
any childhood aha moment, unlike
Jane Goodall, who recalls receiving a
toy chimpanzee as a youngster. As an
undergraduate studying biology and
anthropology at Swarthmore College,
Strier actually thought she might go
on to conduct research on bears in the
United States. But during her junior
year she was ofered the opportunity
to work on the Amboseli Baboon Proj-
ect in Kenya. She had never taken a
course in primatology.
It was a catharsis, she says. Every-
thing about who I was and what I liked
came togetherthe outdoors, the an-
imals, science. It was in graduate
school that her adviser connected her
with Mittermeier, who connected her
with the muriquis. Shes one of the
great leaders in primatology today,
says Mittermeier. Shes had a huge
inuence in Brazil. She has trained
for observations, as some researchers
studying chimps in the wild have been
known to do. For years she has collected
hormone data on individual females by
positioning herself to catch falling fe-
ces. She says they smell like cinnamon.
Though Strier maintains a kind
of clinical detachment from the mu-
riquis in the eld, that doesnt mean
shes uninvolved. She has in fact be-
come their impassioned advocate.
No matter how cooperative they are,
they cant by themselves overcome
the forces at work to destroy them.
Once called woolly spider monkeys,
muriquis occur in two closely related
species that scientists didnt of cially
split until 2000: northern (Brachyteles
hypoxanthus) and southern (Brachyte-
les arachnoides). Both species live only
in Brazil, in scattered remnants of the
once-vast Atlantic coastal forest, now
greatly reduced by clearing for pasture
and agricultural land. Because of ex-
tensive habitat fragmentation, both
muriqui species are classied as en-
dangered, the northern one critically:
Only 1,000 of them survive, spread
across about a dozen patches of for-
est, one of which is Striers study site.
Early in Striers career, colleagues
asked her why she wanted to study
monkey behavior in such an altered
Typically experts in the canopy, muriquis
sometimes do fall, sustaining fractures
and other serious injuries.

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Strier wonders about the potential
for other changes. What will peaceful,
egalitarian primates do if crowding be-
comes more severe and resources run
short? I predict a cascade of efects and
demographic changes, she says. Will
the monkeys become more aggressive
and start to compete for food and other
essentials the way chimps and baboons
do? Will the clubby camaraderie be-
tween males fall apart? Will the social
fabric tear, or will the muriquis nd new
ways to preserve it? Strier has learned
that there is no xed behavior; instead,
its driven by circumstances and envi-
ronmental conditions. Context matters.
Nature is designing my experi-
ment: the efects of population growth
on wild primates, she says. Among the
many unknowns theres one certainty:
The muriquis will try to adapt. Its not
surprising that long-lived, intelligent,
socially complex primates are capa-
ble of great behavioral plasticity, says
Strier. It gives me hope. After watch-
ing this group for 30 years, she adds, I
think anything is possible.
whose body is adapted for something
else, using it in new ways, says Strier.
In another unexpected break with
predictable behavior, ve female mu-
riquis emigrated to another forest on
the far side of 200 yards of bare pas-
ture. Two of these adventurers made
the dangerous trip back into the re-
serve, where its suspected that one of
them mated before again crossing the
open ground to the new forest.
Eking out a living on the ground might
sound like a radical departure with no
real consequences, but it makes the
muriquis more vulnerable to predators.
Camera traps have captured images of
ocelots and a family of cougars in the
reserve, and feral dogs and other carni-
vores are known to roam the pastures.
Basically theyre telling us they
need more space, Strier says. To give
it to them, Preserve Muriqui, the Ab-
dala family foundation that runs the
reserve, is working with local ranchers
and landowners to connect the forest
to the archipelago of small forest frag-
ments on the reserves periphery.
muriqui conservation. Largely thanks
to her eforts, the muriquis have be-
come something of a cause clbre of
conservation in Brazil, featured on
T-shirts and postage stamps. In June,
the city of Caratinga, Brazil, not far
from the reserve, made Strier an hon-
orary citizen, and used her projects
30th anniversary to announce a new
long-term sustainability program.
Though northern muriquis are crit-
ically endangered, the population in
Striers study site, which is protected
from further deforestation and hunt-
ing, has increased. There are now 335
individuals in four groups, a sixfold
increase since Strier started her study.
Thats a development worth cel-
ebrating, but its not without conse-
quences. The monkeys appear to be
outgrowing the reserve and, in re-
sponse to this population pressure, al-
tering millennia of arboreal behavior.
These tree-dwellers, these born ae-
rialists, are spending more and more
time on the ground. At rst the behav-
ior was surprising. Over time, though,
Strier made some sense of it. Theyre
on an island, with no place to go but
up or down. When humans didnt
have enough food, they invented in-
tensive agriculture. Monkeys come to
the ground. It makes me think of how
hominids had to eke out an existence
in a hostile environment. Our ances-
tors would have brought to that chal-
lenge the plasticity were seeing here.
Initially the muriquis descended only
briey and only for necessities, Strier
says. Now theyre staying down for up
to four hoursplaying, resting and even
mating. One of Striers students shot a
video of a big group of monkeys loung-
ing on the ground, leaning against each
other and casually hugging, as if theyre
at a picnic. Next theyll lose their tails,
jokes Carla Possamai, a Brazilian post-
doctoral researcher whos been working
with Strier at the reserve for a decade.
One day we watch muriquis eat
white berries on low bushes. At rst
the monkeys hang from their tails
above the bushes, but soon they drop
to the ground and stand there like cus-
tomers at a pick-your-own patch. Up-
right but awkward, they are out of their
element. Youre watching an animal
THEYRE TELLING
US THEY NEED
MORE SPACE.

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by Lawrence Weschler
David Hockneys long, fierce love-
hate relationship with technology
is on display in a major new retro-
spective opening next month

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The Great Wall In 1999, while visit-
ing an Ingres retrospective at the Na-
tional Gallery in London and closely
examining several of the great French
masters extraordinarily accom-
plished early pencil drawings of En-
glish aristocrats (from around 1815),
Hockney became convinced that hed
seen that sort of seemingly efort-
less, condently assured line before,
but where?Oh wait, that was it, in
Andy Warhols drawings of common
household utensils, of all places! Now,
Warhols assurance arose from the
fact that he was tracing of slide-pro-
jected photographs, but how could
Ingres have been doing it? In the rst
of a dazzling series of leapfrogging
insights, Hockney came to believe
that Ingres must have been using a
then-only-recently invented camera
lucida, a tiny prism held horizontally
steady at the end of a stick more or less
at eye level above the at sketching
surface, looking down through which
the artist could see the, as it were,
periscoped image of the subject sit-
ting in front of him, seemingly over-
laid atop the empty sketching surface
below. The artist could then block in
the location of key features (the pu-
pils of the eyes, say, and the corners
of the lips and nostrils, the lie of the
Hockney is that kidstill is, at
age 76, seemingly having lost none
of the prodigious verve that charac-
terized him when he rst exploded
onto the London art scene as a boy
wonder back in the early 60s. And
central to that persistent youthful-
ness has been an uncanny openness
to technological innovation, the ea-
ger willingness to delve into any and
all manner of new gadgetryfax ma-
chines, color photocopiers, car ste-
reo CD systems, LED stage lighting
grids, iPhones, iPads, HD videocam-
erasoften long before anyone else
even sees their artistic potential as
part of what is, to hear him tell it,
an ages-old human pursuit, going
all the way back to Paleolithic cave
painters: the simple urge to render
a convincing gurative approxima-
tion of the world.
The two aspects of Hockneys pas-
sionthe adamantly hand-rendered
and the wildly technologically am-
pliedwill both be on vivid display
at a major retrospective of his work
since the beginning of the new cen-
tury, opening in late October (through
January 20, 2014) at the de Young
Museum in San Francisco: a survey,
that is, of pretty much everything hes
been up to since the Great Wall.
Photography is all right,
Hockney saw parallels between the
lines in the sleeve drawn by Ingres (top)
in 1829 and the lines drawn by Andy
Warhol (middle) in 1975. Hockney used
charcoal for a 2013 portrait (below).
David Hockney is often given to proclaiming, if you dont mind look-
ing at the world from the point of view of a paralyzed Cyclopsfor
a split second. But thats not what its like to live in the world. At
which point hes likely to unfurl the example of a 5-year-old who
when told to draw a picture of his house will probably include the
front porch, the backyard, the doghouse in the backyard, the drive-
way of to one side, the trees of to the other, the window overlooking
the far back cornereverything he knows is there, all on one plane of
viewinguntil Teacher comes along and says, No, hes done it wrong,
that you couldnt possibly see all that from one place, thereby enforc-
ing an entirely arbitrary one-point perspective. And yet the kid had
it right in the rst place, Hockney will insist. He was showing you
everything that made up his home, just like youd asked.

Nichols Canyon,
painted in 1980,
shows how Hockney
experimented with
multiple perspectives
even before his
Polaroid collages.

ears and the line of the hair, the ow
of the enveloping garments), greatly
facilitating the drafting process.
In the months that followed, Hock-
ney started noticing evidence of the
same look in the work of artists long
before Ingres, past Vermeer, and all
the way back to Caravaggio. Indeed,
Hockney now became convinced that
Caravaggio must have been employ-
ing some similar sort of optical aid,
in his case more likely some kind of
pinhole in a wall, perhaps amplied
by a simple focusing lens, which is to
say a primitive camera obscura.
At the studio above his Hollywood
Hills home, Hockney cleared the long
far wall (which runs the length of the
tennis court over which the studio
had been built and stands two stories
high) and began covering it with pho-
tocopied color images from the his-
tory of Western art, drawing on his
formidable personal library of such
books, shingling the copies all across
the wall in chronological order1350
to one side, 1900 to the other, North-
ern Europe above and Southern Eu-
rope below. Surveying the resultant
Great Wall, as he and his assistants
now took to calling it, Hockney set to
wondering, Where and when had that
optical look made its rst appearance?
With the suspects arrayed before him
like that, the answer soon became ob-
vious: roughly ve years to either side
of 1425, rst apparently in Bruges with
Van Eyck and his followers, and then
hard on in Florence with Brunelleschi
and his, it was as if Europe had sim-
ply put on its spectacles. All at once, a
type of depiction that had previously
seemed halting and awkward sud-
denly became vivid and exactand in
the same, particular way.
But how, Hockney now wondered,
could Van Eyck possibly have accom-
plished such a remarkable leap, since
there was no evidence that lenses had
yet come into existence? The next
breakthrough came when Charles
Falco, a visiting physicist from the
University of Arizona who specializes
in quantum optics, informed Hockney
of something known to any rst-year
physics student, though apparently
unknown to almost every art histo-
rian: the fact that concave mirrors
(the ip sides, that is, of the convex
mirrors that suddenly start appearing
all over the place in Flemish paint-
ings around 1430) are capable of pro-
jecting images of outside reality onto
a darkened at surface, images that
can be traced, in exactly the same way
as with a focusing lens. Reviewing the
images arrayed along the Great Wall,
the two striding side by side, like in-
tent generals inspecting their troops,
Falco suddenly singled out one in par-
ticularthe Lorenzo Lotto Husband
and Wife of 1543, which features a
Persian carpet table covering in the
foreground that seems to go in and out
of focus at particular intervals. Sub-
jecting the image to further analysis,
Falco was presently able to construct
a mathematical proof showing that
Lotto would have had to have used
some sort of optical device.
Hockneys and Falcos discover-
ies and speculations were decidedly
controversial. Conventional art his-
torians seemed to take particular
Awkwardness returns! he would
announce triumphantly. Artists once
again began looking with two eyes, try-
ing to capture all the things a standard
chemical photograph couldnt.

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surrendering to their perspectival im-
peratives. In that sense, the invention
of photography in 1839 merely chemi-
cally xed onto a surface (silver-plated
copper at the outset, though presently
paper) a way of seeing that had already
held sway for centuries. And ironically
that was the very moment, as Hock-
ney would now be only too happy to
show you, his hand sweeping to the far
end of his Great Wall, when European
painting began falling away from the
optical. Awkwardness returns! he
would announce triumphantly. Art-
ists once again began looking with two
eyes, trying to capture all the things
a standard chemical photograph
couldnt. Impressionists, Expression-
ists, Czanne and the Cubists were no
longer trying to aspire to objective
truth, in the chemical-photographic
sense; rather, they were endeavoring
to fashion a way of seeing that was
true to life. And in that sense, in a
world progressively more saturated
(and by our own time supersaturated)
with conventional photographic im-
agery, the Cubist project was by no
means nished. Picasso and Braque
were right, hed exult. Wider per-
spectives are needed now.
And Hockney was ready once again
to take up the gauntlet.
Looking Deeper, Seeing More Oh
dear, I really must get back to paint-
ing. How many times over the previ-
ous 20 years, after one extended side
certain efects (accurate reections
on glass and metal, the sheen of silk)
couldnt have been achieved without
them. In the case of reected armor,
for example, the projected reection
would stay still even while the paint-
ers head bobbed and wove, which
would not have been possible other-
wise; just look at the stylized awk-
wardness in the treatment of such
reections in paintings before 1430.
Still, the techniques were hardly easy,
and some artists were obviously much
better at them than others. These are
the sort of aids, Hockney commented
at one point, that if you arent already
a sophisticated artist wont be of much
help; but if you are, they could be of re-
markable assistance.
But what was most striking across
the years of controversy that followed
was the way people seemed intent on
missing Hockneys main point: that
(as had been the case with his Pola-
roid and other photo-collages a couple
of decades earlier) his was a critique
of the limitations of that kind of im-
age-making. The optical look, he
now argued, had come into the world
all the way back in the 15th century
when painters began deploying single
curved mirrors or lenses or prisms and
umbrage. Where, they demanded, was
the hard evidence, the testimonies or
manuals or letters or sketches? As
it happened, Hockneys studio as-
sistants David Graves and Richard
Schmidt were able to dig up a good
deal of such contemporary evidence,
which Hockney included in 2001
as appendices in a sumptuously il-
lustrated, carefully argued volume
laying out the whole theory, Secret
Knowledge: Rediscovering the Lost
Techniques of the Old Masters.
More generally, people seemed of-
fended that Hockney was suggesting
that the old masters had somehow
cheated. Hockney countered that he
wasnt suggesting anything of the
sortthat he was speaking of a time,
at least at the outset, when the gap be-
tween the arts and sciences had yet to
open, when artists like Michelangelo
and Leonardo and others were om-
nivorously curious and omni-direc-
tionally engaged, and they would have
been captivated by the optical efects
aforded by such nascent technologies
and immediately started putting them
to good use. Nor was Hockney suggest-
ing, as some of his more literal-minded
critics took to caricaturing his posi-
tion, that every artist had traced every
line of every painting. To the extent
that such projections were used, it
was to lock in certain proportions and
contours, after which the artist could
return to more conventional types of
direct observational painting, though
Starting with the 14th century (left)
and continuing well into the 1800s
(above), the Great Wall let Hockney see
patterns. He could pinpoint when awk-
wardness retreated and optical accu-
racy emerged and then itself retreated.

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passion or another (those Polaroid
photo-collages, the fax combines and
the handmade prints, the prolonged
investigations into physics or Chi-
nese art, the opera set and lighting
designs , the camera lucida drawings
and now this all-consuming multi-
year art historical excursus) had I
heard that phrase from Hockneys
lips? The fact is that the 20 years
since 1980 had seen far fewer paint-
ings than the two preceding decades.
But now, in the rst years of the new
millennium, Hockney seemed freshly
resolved. He returned to England for
longer and longer extended visits on
either side of his mothers passing,
at age 98, in 1999, specically to the
somewhat dilapidated seacoast resort
town of Bridlington in East Yorkshire
to which she had retired, a few dozen
miles from the mill town of Bradford
where he had been raised.
Now he was really going to pour
himself back into painting. Except
that instead he took up watercolors
for the rst time in his life in any se-
rious fashion. In part, they allowed
him to work in plein-air and to really
explore his new Bridlington home
base . But in addition, watercolors by
their very nature, with the immedi-
acy of their application, precluded any
sort of optical approach. Further-
more, the unforgiving nature of the
medium (the way one couldnt easily
cover over ones mistakes) forced him
to look deeper the rst time (for exam-
ple, at the profuse varieties of plant
material making up a seemingly ran-
dom roadside hedge, each genus spe-
cically distinct, and each individual
plant specically distinct within the
genus)to look deeper and see more.
Over just a few months from the late
summer of 2004 through the end of
the year, Hockney produced more
than 100 watercolor studies.
He was just getting started. The
year 2005 would nally see his re-
turn to painting in a big way, with a
relentless outpouring that summer
sometimes a full painting a day, oc-
casionally even two or threeretrac-
ing some of his favorite sites from
those earlier watercolor excursions.
All the while he kept trying to widen
his vantages, contriving methods for
mounting multiple canvases on ea-
sels, one beside the next, and then six
at a time (two high and three wide),
creating combine-vistas that were
not just bigger and wider but that fea-
tured multiple overlapping vanishing
points, pulling the viewer ever more
actively into the scene. The efect was
all the more striking in several of the
paintings that featured the trope of a
road receding toward the horizon
the very epitome of the traditional
one-point perspective efectonly, in
his versions, the roads would be veer-
ing slightly of-center, and the view-
ers gaze drawn equally powerfully to
all the vantages peeling of to its sides.
How do you like my latest gure
paintings? he asked me, impishly,
one day around this time, as I stood
gazing at one of those combines on the
wall of the big studio hed established
in the hangar of an industrial park just
outside Bridlington. But, I decided
to take the bait, there are no gures.
At which point, smiling wryly, he cor-
rected me, emphatically insisting,
Youyou are the gure. Indeed, pe-
rusing some of those combines, you
couldnt help ityour eyes would up
and go for a walkperhaps nowhere
more so than with the 50-canvas
winterscape, his vastest and most
staggering combine yet, Bigger Trees
Near Warter, which took up the entire
far wall in the long hall of the Royal
Academy in London, during the group
invitational of summer 2007.
Throughout this period, Hockney
took particular delight in how vividly
his paintings (or for that matter most
other non-optically produced images)
read from across the room, in direct
contradistinction to those fashioned
under the more conventional optical
approach. Hed enjoy tacking the color
reproduction of, say, the detail from a
Caravaggio still life on the far side of
Hockney has long had an openness to
new technologies. He used an inkjet
printer to render the 60- by 41-inch
sailor Matelot Kevin Druez 2, 2009 (left).
Later he created sketches (right) on his
iPad (Yosemite, cup, dog) and iPhone
(sun, plant), often pausing to wipe the
digital paint o his ngers afterward.

in the falland preferably across two
or three such fallsthat you could ever
hope to capture its true essence come
the following leaf-full, blowsy summer.
So it was painting, painting, paint-
ing virtually all the time from 2005
onward at lAtelier Hockney Brid-
lington. Except that, in typical fash-
ion, actually, it wasnt, at least after
2008, when he was seduced by a new
technology, one that he now took to
pursuing with almost as much verve
and fascination.
iPaint As I say, despite his critique
of the optical look created by early
technologies, a striking openness
to new technologies has long been a
feature of Hockneys career. There
was a time when the people at Canon
photocopiers used to ply him with
experimental cartridges, long before
they went to market, just to see what
hed come up with. (He came up with
a suite of handmade prints.) Like-
wise fax machines in the time of their
impending ubiquity, and the long-dis-
tance, widely broadcast collages he
managed to wrest out of those. For
that matter, he was one of the rst
people I knew who had tape and then
CD players installed in his carsthe
better to choreograph elaborately
his studio, right up next to a similarly
sized reproduction of a Czanne, with
the fruit in question exactly the same
size. Not to diminish the exquisite
mastery of Caravaggios rendering,
hed say, but just look. From this dis-
tance, the Caravaggio just about dis-
appears, while the Czanne almost
pops of the wall. This, he was con-
vinced, was because the Caravaggio
had a certain distancing, receding
perspective built into its composition
(the cycloptic recess, as it were, exist-
ing in an abstractly frozen present),
whereas Czannes apples had been
seen with both eyes and across time.
Indeed, time itself and its pas-
sage now began to take up more and
more of Hockneys concern. Wider
and wider vantages continued to be
needed, but whereas in earlier visits
to the Grand Canyon, for instance,
Hockney had been after bigger and
bigger spaces, around Bridlington
he was instead becoming intent on
incorporating greater and greater
extensions of time, and not just the
time involved in becoming the g-
ure and taking those visual ambles
all about the painting. Hockney was
also becoming more and more sensi-
tive to the passage of time between
paintings, the play of the seasons
with their very specic barometric
shifts. He would return to the same
sites over and over againthose in-
tersecting paths in the Woldgate
Woods, for example, which he ended
up depicting no less than nine times
in six-canvas combines across 2006;
or the trio of trees near Thixendale,
rendered twice the following year, the
rst time in August when they pre-
sented themselves almost like great
green breathing lungs, the second in
December, by which time theyd been
stripped to an almost desiccated an-
atomical cross-section. The seasons
had been something hed nearly come
to forget in Southern California, and
their passage week by week now con-
stituted for Hockney one of the special
savors of this return to his boyhood
haunts. Indeed he came to feel that
it wasnt until youd seen a tree win-
ter-bare and all dendrite-spread late
A single moment from a minutes-long
18-screen slow-panning video (from 18
vantage points) capturing the side view
of a slow drive up an English country
road in 2011. Below right, the artist di-
rects an array of small video cameras
mounted on his Land Rover.
Explore more work by
David Hockney at
Smithsonian.com/hockney

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pre-scored drives through the Santa
Monica and San Gabriel mountains,
soaring and swooping hours-long af-
fairs, alternating between composers,
that almost invariably culminated as
one came hurtling over the last pass
heading back toward the coast, Wag-
ner at full throttle, with a transcen-
dent vantage of the setting sun just as
it went slipping into the sea.
Now it was the turn of the iPhone,
whose dazzling potential as a color
drawing device, by way of its Brushes
application, Hockney was one of the
rst artists fully to exploit. Hed spend
hours noodling around on its touch-
screen, and further hours away from
the phone itself, just thinking about
how he might achieve certain efects:
the efect of white porcelain, for ex-
ample, or cut glass or polished brass;
the efect of cut owers or bonsai or
cacti; the efect of the morning sun
rising slowly over the sea. This last
challenge proved especially engross-
ing for Hockney. An inveterate chron-
icler of California sunsets, hed long
wanted to introduce sunrises into
his repertory, but had never been able
to do so, since it was always too dark
to make out the paints and colored
pencils, and when he turned on an in-
door light to see them, hed drown out
the dawn. But since with the iPhone
light itself was the very medium, this
was no longer a problem; he could
chronicle the most subtle transitions
starting out from the pitchest dark.
Suddenly his friends all around the
world began receiving two, three,
or four such drawings a day on their
iPhoneseach of the incoming dis-
patches, incidentally, originals,
since there were no other versions
that were digitally more complete.
People from the village, he told me
one day, come up and tease me, We
hear youve started drawing on your
telephone. And I tell them, Well, no,
actually, its just that occasionally I
speak on my sketch pad. And in-
deed, the iPhone was proving a much
more compact and convenient version
of the sorts of sketchbooks he always
used to carry around in his jacket
pockets, and a less messy one at that
(notwithstanding which, each time
he slid the phone back into his pocket,
hed rub his thumb and forenger up
against his trousers, by force of habit,
wiping of all that digital smudge).

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ing more than an overgrown gully
youd likely never have even bothered
to look at otherwise). The clarity, the
vividnessall that detail amid all that
profusion; the splendor of it all. If the
doors of perception were cleansed, to
quote William Blake, a fellow panthe-
ist in Hockneys register, every thing
would appear to man as it is, Innite.
For in fact, it wasnt so much that you
were seeing things you never had be-
fore; rather you were seeing in a way
you never had. Eighteen screens, as
Hockney now explained to me, which
means at least 18 diferent vanishing
points, and all of them moving. One-
point perspective cleanly obliterated.
Indeed, obliterated to such a degree
that it was almost troubling. Myself, Id
come to agree with the digital apostate
Jaron Lanier in his blanket dismissal
of certain vaulting digital ambitions
with the contention that what makes
something real is that it is impossible
nally of 18 plasma screens, spread
along the long wall of his studio. He
had contemplated versions of this ex-
periment as far back as the Polaroid
collages of the early 80s, and in many
ways, the current project read like
activated versions of those Polaroid
grids. But the technology hadnt yet
quite been there at the time: The gi-
gabytes required to operate and syn-
chronize 18 simultaneous screens
had been prohibitive; and for shooting,
one had to wait for the camera size to
become sufficiently compact. So it
wasnt really till 2010 that Hockney
was able to attempt a full deployment
of the envisioned medium. Once he
did, he was almost completely drawn
in. Goodbye, once again, to painting,
at any rate for the time being.
The results were nothing short of
ravishingthe slow procession down
a summer-drowsy country lane, the
utterly engrossing spectacle of the
great green overhanging trees as
they approached and passed by, their
bowing branches bobbing and weav-
ing across nine screens. And a few
months later, the slow procession, at
exactly the same pace past exactly the
same trees, now stripped bare, their
naked black branches cast against
the gleaming blue sky of a snowdrift
morn, projected across a neighboring
nine-screen grid. Eighteen screens
altogether: one season per eye. Or re-
mounting the camera grids laterally, to
the side of the car, the teeming throng
of spring-fresh liveliness positively
glorying by the side of the road (noth-
From the iPhone he graduated
to the iPad; and from interiors of
cut-flower bouquets or the morn-
ing view out his window over the
dawn-spreading sea, he moved on to
more elaborate plein-air studies of
the Bridlington environs of the kind
hed already been painting on canvas.
In particular, there was an extended
suite, comprising 51 separate digital
drawings titled The Arrival of Spring
in Woldgate, East Yorkshire in 2011
(twenty eleven). Later that fall, back
in California for a visit, he launched a
perhaps even more evocative iPad in-
vestigation of Yosemite Valleywider
vistas in a narrower frame.
At the same time he and his team
began exploring the limits of tech-
nological capability when it came to
transferring digital drawings onto
paperthe crisper the image and
greater the surface, the better. The
resulting wall-size prints held up
exceptionally well and soon became
an integral feature of the exhibitions
surveying this Yorkshire period of
Hockneys lifework.
More Real Than Real Around 2010,
Hockney set of on yet another cut-
ting-edge technological investigation.
This time (with the assistance of his
studio aides Jean-Pierre Goncalves
and Jonathan Wilkinson) he deployed
an array of multiple small video cam-
eras, nine in a three-by-three camera
grid, mounted on the front hood of his
Land Rover. He projected the results
across an array, initially of 9 and -
We went to The Hobbit the other day,
incredibly lush landscapes,
youd think it would have been deeply
fulfilling. But in fact, the editing
was so fast, you didnt get a chance
really to experience any of it.

Hockney has painted Woldgate Woods
in oil, watercolor and on his iPad. But in
his most recent work, he created 25 ver-
sions of the arrival of spring in charcoal,
capturing ve moments each at ve dif-
ferent spots across several weeks.
it. And the problem with 3-D is that,
of necessity, you are outside of it. It
comes at you; you cant go into it. You
arent given the chance to slow down
and look around. Not like herethe
gully streamingnot like this.
The 18-screen projection now
switched over to one of Hockneys
more recent interior experiments,
in this case an 18-camera recording,
shot from on high, looking down upon
a deliciously improvised dance suite
choreographed in his own colorfully
repainted Hollywood Hills studio.
Hed been trying several of these
sorts of interior projects, including
a three-camera, single-take (in the
mode of Alexander Sokurovs Russian
Ark) tour of a retrospective of his at
Londons Royal Academy and a racing
convertible tour of one of his San Ga-
briel Mountain/Wagner drives.
This, or something like it, is going
to have to be the future, Hockney told
me. You compare this sort of thing to
the beginning, say, of Gladiator, Rus-
sell Crowe big on the screen as things
build, one upon the next, toward the
beginning of the battle. It could have
been so excitingI remember think-
ing that at the timebut wasnt, in
part because with each shot we could
feel our focus being directed to this
one thing and then the next. We
werent free to let our eyes wander, to
engage positively on our own behalf.
Whereas, with this way of doing it,
you are almost forced to be active in
your looking, and you have the time
to be. And as a result you feel so much
more free. Which is another way of
saying you feel so much more alive.
Except that, in typical fashion,
Hockneys own future now featured
a new experiment, this one a return
to the past, by way of a primordial, in-
deed almost Cro-Magnon technology:
Hed begun chronicling the coming of
spring to the woods outside Bridling-
ton again, only this time in charcoal,
which is to say by way of burnt wood
across pulped wood. All the whiz-
bang technological experimentation
had come back round to this, all in
pursuit of the smudge, the feel of the
real. What is it like, really like, to be a
gure alive in the world?
to represent it to completion. No rep-
resentation, in other words, could ever
aspire to be as complete, as completely
real, as reality. And yet these 18-screen
projections almost felt more real than
the landscapes they were represent-
ing, the things in them pried loose
from the tired dailiness of their over-
exposure and, as if polished, rendered
newly worthy of notice.
The thing is, Hockney replied
when I tried this notion out on him,
most people most of the time are
pretty blind. They move through the
world scanning so as to make sure
they dont bump into anything, but
not really looking. Driving can get to
be like that: Youre only aware tan-
gentially, negatively, making sure
there are no untoward things hap-
pening. Minutes can go by and sud-
denly you realize that you almost
havent even been conscious of the
passing scene. Whereas looking, by
contrast, is a very positive act; youve
got to set out to do it. We gazed for
a few moments at the 18-screen ar-
ray, the heavenly gully streaming by.
Now, conventional cinema is dogged
by the same problem as conventional
photographythat vise of one-point
perspectivebut even more so in that
your gaze is being further directed by
the lmmaker: Look at this, and now
this, and now this. Not only that, but
the editing is so fast, you are not given
time to see anything. We went to The
Hobbit the other day, incredibly lush
landscapes, youd think it would have
been deeply fullling. But in fact, the
editing was so fast, you didnt get a
chance really to experience any of

heralds the museums rst foray into
intangible items.
Introduced for the iPad by the soft-
ware rm Bloom in 2011, the Plane-
tary app ofers a dazzling portal for
navigating an iTunes collectionvi-
sualized as celestial objects. When
you launch it, a spherical, 3-D galaxy
appears. Swiping across the screen,
you can spin the galaxy on its axis,
viewing it from all angles. Each star
represents an artist. Tap a star; the
screen zooms in to a series of plan-
ets orbiting the star that represent
individual albums. Tap a planet and
zoom in to a series of orbiting moons:
Each moon is a song on the album.
Tap a moon, and the song begins play-
ingas the moon revolves around the
planet. Its a mesmerizing galactic
experiencewhich is why more than
two million users have downloaded it.
The impetus for the acquisi-
tion, says Sebastian Chan, Coo-
per-Hewitts director of digital and
emerging media, is that software has
become one of the most signicant
arenas of design. Code, the under-
pinning of any app, may be digital and
insubstantial; you cant touch it. Yet
we interact with apps daily and their
design afects our behavior. When
Facebook, for example, created its
News Feed feature, users encoun-
When you step into the Smithsonian
Cooper-Hewitt, National Design Mu-
seum in New York City, you encoun-
ter a world of tactile, physical stuf.
You might come across an Austrian
cofee service from 1902including
a milk jug and sugar bowlringed at
the base in a pattern of burnt-orange
circles. Or check out the atomic-age
styling of a 1959 Philco television,
the ovoid screen posed like a head on
a swivel. Range further back in time
and theres a silver-plated match safe
from 1885 Britaina pocket-size box
for holding a smokers matches.
In the article youre reading right
now, however, the Cooper-Hewitt is
announcing the unprecedented ac-
quisition of an artifact you will never
nd encased in a plexiglass cube or
sequestered in a climate-controlled
storage facility. In a physical sense, it
doesnt even exist: Its a piece of soft-
ware, an app called Planetary, and it
by Clive Thompson
tered a stream of their friends status
updates. No one quite knows what
it means to collect design artifacts in
a world where design is increasingly
intangible, says Aaron Cope, Coo-
per-Hewitts senior engineer.
The rst step, Chan says, will be to
exhibit Planetary when the museum
reopens in 2014 after renovations. It
will be displayed on iPads so visitors
can interact with the software. The
next step will be to modify Planetary
for new purposes. The app visualizes
connections among pieces of data, at
the moment focused solely on music.
Music of
the Spheres
A revolutionary acquisition
showcases a stellar piece of software

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chairs start becoming so popular?
That zooming in and out gives schol-
ars new questions to answer, and the
public a new way to experience the
collection.
Planetary also symbolizes a sig-
nicant trend in software design: It
resembles a video game. Theres a
drift toward things that are gamelike,
says Ben Cerveny, one of Planetarys
inventors. Were moving away from
rigid grids of icons.
At the same time, Cooper-Hewitt
also is acquiring the problems inher-
ent in softwareincluding planned
obsolescence. Sure, Planetary runs
on todays iPads. But what happens
when Apple moves on? The company
has a history of abandoning old hard-
ware and operating systems; your old
apps may not always be supported on
Apples newer devices. I dont pre-
tend that weve gured it out, says
Cope. The truth is, nobody has.
Perhaps the most innovative part
is that Planetary will belong to the
world: When curators release it Au-
gust 27 (coinciding, just by chance,
with the planet Neptunes closest
approach to Earth), they will ofer it
open sourcethe rst time that a de-
sign museum has made current soft-
ware available. Geeks worldwide can
then download and modify itvisu-
alizing collections of books, perhaps,
or a constellation of genomes. Pub-
lic-minded nerds years from now will
be able to create emulatorssoft-
ware that runs on modern computers
but emulates todays iPad, so people
eons from now can see how Planetary
appeared in 2013.
The Cooper-Hewitt will own it
but so will everyone. As a result,
Planetary will become an innitely
evolving piece of design.
Cooper-Hewitt curators plan to cre-
ate a new version of Planetary con-
taining information on the museums
217,000 artifacts. A majority of the
holdings are in storage, about half of
which are viewable as images on the
museums website. Chan foresees
Planetary as a tool allowing visitors
virtual access to the entire collection.
When you look at the collection
as a whole, you see connections, he
says. You can map social connec-
tions between people and things. Why
did that person donate so many things
in the 1930s and then stop? When did
FROM THE SMITHSONIAN COOPER-HEWITT,
NATIONAL DESIGN MUSEUM
National Treasure
See the apps design
for yourself at
Smithsonian.com/planetary
Planet of the apps: the Cooper-Hewitt
will release the code (above) behind
Planetary (left), enabling everyone to
adapt the software.

by TOM DOWNEY
THE EPHEMERAL CITY
In India, the worlds largest gathering attracts tens of millions of Hindu pilgrims
and a team of Harvard researchers seeking answers of their own
photographs by ALFRED YAGHOBZADEH

On the banks of the Ganges River,
Hindu pilgrims showed devotion at this
years Maha Kumbh Mela festival.

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bearded 54-year-old. Its a real city,
but its built in just a few weeks to in-
stantly accommodate tens of millions
of residents and visitors. Its fascinat-
ing in its own right, of course. But our
main interest is in what can we learn
from this city that we can then apply
to designing and building all kinds of
other pop-up megacities like it. Can
what we see here teach us something
that will help the next time the world
has to build refugee camps or emer-
gency settlements?
Mehrotra gave me a rundown on
the place and urged me to plunge in.
Its the biggest religious shopping
mall in the world, he said. Every
kind of diferent Hindu group you can
imagine comes together here to show
of their wares, share their knowledge
and vie for disciples. You have to get
down there and see for yourself.
What struck me as soon as I descended
into the byways of the Kumbh was
something I had not anticipated: It was
the cleanest and most orderly Indian
city Id ever seen. Wide boulevards
built from metal plates bisected long
What they dont tell you about Varanasi,
probably Indias holiest city, is that in addition
to being lled with sacred temples, mischievous
monkeys and bearded ascetics, its also full of
waste of all kinds: mountains of fetid cow and
other, much worse kinds of dung, muddy tribu-
taries of dubious origin, mounds of fast-decaying
owers, shards of shattered clay cups. As I left the
utter squalor of Varanasi, a permanent and an-
cient city of four million, for a temporary religious
celebration of even more people nearby, I could
only imagine the enormous crowds, inescapable
lth and utter chaos that it would produce.
sunset, expecting throngs of cars, cows
and human beings blocking all access
points. Instead I glided comfortably
into my camp, which sat on a hilltop. I
looked out over the eeting city before
me: makeshift shelters constructed on
the oodplain of a river that was sure
to overow again in a few months.
The soundtrack consisted of disso-
nant chords of shrill songs, snippets of
amped-up holy recitations, a distorted
line from a dramatic performance of
an Indian epic and the constant rum-
ble of millions of people cooking, chat-
ting, snoring and singing . The horizon
was dark and smoky red, with colorful
ickers of light piercing the haze in or-
derly, geometric rows that stretched as
far as I could see in three directions.
Id come to witness the spectacle
for myself, but also to meet a group of
Harvard researchers from the univer-
sitys Graduate School of Design. Led
by Rahul Mehrotra, an architect from
Mumbai before he went stateside to
teach, they would closely analyze
this unparalleled feat of spontaneous
urban organization. We call this a
pop-up megacity, said Mehrotra, a
It was January, and I was headed 80
miles west to the Maha Kumbh Mela
in Allahabad, a Hindu religious festival
in which tens of millions of pilgrims
come together at the convergence of
two real rivers, the Ganges and the
Yamuna, and one mythical stream, the
Saraswati. They stay for all or part of a
celebrationthis years would last 55
daysthat is the largest single-purpose
human gathering on earth.
In the mythology of the Kumbh
Mela, gods and demons fought for 12
days over a pitcher (kumbh) of nectar
of immortality from the primordial
ocean, and the nectar spilled onto the
earth at four diferent places, includ-
ing Allahabad. The gathering (mela)
takes place every three years at one of
the four locales in a 12-year cyclea
day of the gods time corresponds to a
year of human timewith the largest
(maha) celebration in Allahabad. The
rst written record of its occurrence
dates to the seventh century A.D.
The iconic image to which the
Maha Kumbh Mela is invariably re-
duced is that of millions of worship-
ers, their ash-covered, dreadlocked
sadhus leading the way, converging on
the bank of the Ganges for a collective
dawn dunk. This spectacle is so over-
whelming that it was almost impossi-
ble for me to nd out what the rest of
the vast gathering would be like. And
so I had approached my visit to Alla-
habad with both awe and dread. After
seeing the sordid streets of Varanasi,
the dread was winning out.
I arrived by taxi at the Kumbh at
Allahabad
ALLAHABAD
Bathing
areas
New Delhi
Kumbh
Mela
Grounds
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lines of tents. White splashes dotted
the sand where sanitation workers
had disposed of waste and then scat-
tered lye. The grounds stretched so far
and wide, nearly eight square miles,
that there was, at that time, none of
the crowding and claustrophobia Id
feared. Clean and orderly streets were
inhabited by citizens apparently enjoy-
ing an evening of enlightenment from
lecturing gurus or entertainment from
costumed Ramayana actors. There was
little commerce of any kind, save for
the occasional street-side snack stand
that sold fried potatoes or popcorn, and
there was little or no traf c, as vehicles
were restricted. Pedestrians seemed to
move with purpose, proceeding from
mess hall to music performance, from
the feet of their gurus to the tiny warm-
ing res theyd lit in front of their tents.
That night, as I wandered the
streets of the Kumbhhousing, lec-
ture halls, open-air cafeterias, meet-
ing areas for sadhus, disciples and
pilgrimsI tried to make sense of the
layout, a grid of 14 designated sectors.
Mehrotra and his co-workers had
mapped out the Kumbhs center, sent
around a video van to document the
main streets and own kite cameras
high above the crowds to capture the
event from yet another perspective.
The next day I walked with them
across the main permanent bridge to
Allahabad. From up here, high above
the pop-up city, we could get a better
feel for its composition. They create
a completely gridded city on top of
this shifting oodplain, said Meh-
rotra. And the way that they impose
this grid on the river is by building 18
small pontoon bridges that crisscross
the Ganges and Yamuna, allowing the
grid to go on, even across the water.
On one side of the bridge we could
see what was called the Sangam, the
holy bathing area, where the two large
rivers came together as one. Sandbags
fortied the banks; fences in the mid-
stream bathing areas kept pilgrims
from drifting down the river. Before
1954 the Sangam area was much,
much smaller, said Mehrotra. But at
the Kumbh Mela that year there was a
terrible stampede in which hundreds
died. After that the authorities decided
to expand the Sangam and reduce the
chances of that happening again.
Below us, between the bridge and
the bathing area, was Sector 4, where
the 16 major akharas, Hindu religious
organizations, had their headquarters.
Across the water, on the other side of
the bridge , was the temporary admin-
istrative center, with a hospital, por-
table ATMs, a shuttered Kumbh his-
tory exhibit and an open-air market
for food, clothing, religious goods and
souvenirs. Going away from the San-
gam, on the other side of the bridge,
stretched more and more tent cities.
Think of it as an ordinary city, said
Mehrotra. Over there is the down-
town where the biggest and most im-
portant groups reside and where ev-
eryone comes together, in this case to
bathe in the Ganges. Behind us are the
suburbs, more sparsely populated, far-
ther from the action, with all kinds of
other, diferent groups living out there.
Some gurus choose to be out there so
they can be away from the maelstrom
and gather quietly and peacefully with
their followers. Others are relegated to
the margins because they dont have
the clout to get a place in the center. It
works just like any other city. Except
that its all built, lived in and then dis-
sembled in a matter of a few months.
The government of Uttar Pradesh,
the Indian state in which Allahabad is
located, runs the Mela. This is a pres-
tigious posting, and government of -
cials spend years planning the event.
On the private side, the most powerful
akharas seem to take a lead role orga-
nizing the central sectors and deciding
the order in which they will proceed
to the Sangam on auspicious bathing
days. The Kumbh Mela works in a way
that most other Indian cities do not in
part because everyone is on their best
behavior: Civil servants know that
their careers will be dened by these
few weeks in the national spotlight;
members of the public arrive with a
sense of purpose and community.
One other quality that Mehrotra was
quick to point out was the population
uctuation. On ordinary days probably
On its peak day, an estimated 30 million
people attended the festivala pop-up
megacity that researchers say teaches
critical lessons in urban design.

two million to ve million showed up.
But on the auspicious bathing days,
of which there were nine, with one of
primary importance, the population
could easily reach 20 million to 30 mil-
lion, according to news reports. I asked
Mehrotra how this place managed to
function so well, especially in contrast
to so many permanent Indian cities.
The Kumbh Mela is like an Indian
wedding, he said. You can do things
at this level of intensity only because
you know it will be over soon.
On the eve of the next auspicious
bathing day, the air of the Kumbh
Mela was so smoky from countless
wood cooking fires that my eyes
teared up. The streets were bustling
long into the night as pilgrims stum-
bled of trains and buses and walked
to their camps. The next morning,
before dawn, I made my way to the
bathing area. The bathers were quiet,
but shrill police whistles pierced the
air, warning pilgrims to stay near
shore and to swim only in designated
areas. Along the perimeter of the
beach priests had set up stations to
sell their services, helping pilgrims
with their rituals before they waded
into the Ganges. It was certainly more
crowded now at the Sangam than at
any other time since Id been here. But
it was very hard to gauge the numbers.
The truth is that the claims that 20
million or 30 million people a day bathe
in the Sangam, or that 120 million peo-
ple visit the Kumbh over the course of
the event, are hard to substantiate. The
government authority that runs the
Kumbh Mela has an interest in mak-
ing these numbers seem as big and as
bombastic as possible, to validate its
ef cacy and ensure greater funding
next time. The news media in India
and abroad also thrive on the events
extreme nature, so they, too, have little
reason to challenge the numbers.
Whatever the actual number of peo-
ple that morning, the city remained
orderly. There was some congestion
down at the front lines of the owing
river, but it was more like crowding of
the kind youd have seen on a hot sum-
mer afternoon on Coney Island in its
heyday, not the jostling, compression
and danger of a stufed soccer stadium.
Once the crowds dispersed, the
banks of the Ganges were clogged with
dams of garbage, including flowers ,
food, plastic bottles and unidentiable
objects. One guru who spoke to the
Harvard group conded that though he
would never tell this to his followers, he
no longer bathes in the Ganges at the
Kumbh Mela. It is a sacred river, he
said, but that doesnt mean its pure.
At least one member of the Harvard
team contracted bilharzia, a parasitic
infection, after bathing in the Ganges.
There are eforts to clean up the water,
most notably the green Ganga move-
ment headquartered at a camp just op-
posite the Sangam.
On my last morning I traveled to
the central sector where the 16 major
akharas were located. The Juna akhara
is the most powerful and inuential of
these. Inside a large compound, con-
sisting of orange tents arrayed around a
massive orange ag hoisted high above
the encampment on a pole, the sadhus
sat next to res that their disciples
helped keep burning day and night. The
rst sadhu I saw was a peculiar sight: a
bearded, dreadlocked white guy smok-
ing a stone chillum lled with hashish
who, after he exhaled, began speaking
with a distinctively American accent.
Baba Rampuri, a 63-year-old U.S. na-
tive raised in California who joined the
Juna akhara over 40 years ago and has
since ascended its ranks, gestured to
me to sit down before him. One of his
followers, also clad in the orange robes
of the akhara, prepped and passed Ram-
puri another chillum of hashish, which
sadhus smoke as part of a holy ritual to
improve their focus while meditating.
He carefully wrapped a piece of white
cloth around the bottom hole and pro-
ceeded to inhale deeply before passing
it along to another follower.
This event is almost always de-
scribed by the Western media as this
huge gathering of the superstitious and
primitive masses, he said. But I would
contend that if you compare the peo-
ple here to their equivalent in Europe
or the United States and assess them
with the yardstick of culture, youd see
things very diferently. If you look at
the number of diferent kinship terms
people use, or the sophisticated story-
telling culture they have, then you re-
alize that these are not ignorant people
drawn here by blind faith. Like Meh-
rotra, he recognizes that there is a deep
knowledge and intelligence at work in
the Kumbh Mela that doesnt boil down
to spectaclesor miracles. Rampuri
told me about his rst Kumbh Mela, in
1971, when there were no latrines, little
running water and only the most basic
tents. I asked whether in creating the
vast and relatively modern city at this
years event, some of the essential spirit
of the Mela has been lost. How do you
efectively pass your traditions down
through time, he said. You cant just
keep things as they were. Stasis is death.
You have to be dynamic to survive.
HOW DO YOU EFFECTIVELY PASS YOUR TRADITIONS DOWN
THROUGH TIME? YOU CANT JUST KEEP THINGS AS THEY WERE.
STASIS IS DEATH. YOU HAVE TO BE DYNAMIC TO SURVIVE.
Ash covered a naga sadhu (left), one of the
naked holy ascetics that India Today says are
revered for their austerity and feared for their
quick temper. Vermilion powders (above)
enabled pilgrims to freshen ritual markings.
In Mystical Journey: Kumbh Mela,
airing this fall on the Smithsonian
Channel, the actor Dominic West (star
of HBOs The Wire) and the Sanskrit
scholar James Mallinson journey
to the Maha Kumbh Mela festival in
Allahabad to document Sir James
ordination as the leader of an ancient
Hindu sect of master yogis. Check
Smithsonianchannel.com for details.

A couple of weeks after I left the
Kumbh Mela, on the most auspicious
bathing date, February 10, crowds
coming from the railway station con-
verged on a small bridge at the edge of
the Kumbh grounds and a stampede
ensued, killing at least 36 people.
What exactly started the stampede
and why it got so bad remain a mys-
tery. When I met Mehrotra a couple
of months later in Cambridge, we
talked about the tragedy. Its terrible
and regrettable, of course, and there
are some crowd management tech-
niques that, if implemented, would
almost certainly have prevented that,
but I dont think it means that we
cant learn from the good parts of this
pop-up megacity, of which there were
many. He proceeded to describe what
he and his students had concluded
after sifting through their documen-
tation of the event and comparing it
with other pop-up cities, everything
from refugee camps to Burning Man.
When you look at structures like
refugee camps, you often see every-
thing planned out in advance, with
rows of identical houses built for ref-
ugees to just move right into, he says.
But the theory of urban planning for
the Kumbh Mela is very diferent. The
authorities provide the infrastruc-
tureroads, water, electricityand
they divvy up the sectors between
groups. But each individual organiza-
tion has to build out their own space,
which makes for much more of a
community than when you just move
people into something youve built
for them. Theres some rigidity to the
Kumbh Mela planning system, with
its preordained grid structure and its
map of the sectors and their essential
resources ahead of time, but theres
also a profound exibility. Individual
communities can shape their spaces
to be exactly as they want them to be.
And that combination works.
The Kumbh serves to expand Meh-
rotras knowledge of what he calls the
kinetic city. Traditional architecture,
Clockwise from top left: A festival clinic
oered eye exams; the encampment covered
nearly eight square miles; holy men arrived
in force; temporary facilities included some
35,000 toilets; cooks had to feed millions.


Mehrotra said, looks at the planned,
built and permanent structures that
constitute the formal, static city. But
increasingly, especially in places like
India, a second kind of city shadows
the traditional one. The kinetic city
is made up of things like informal
settlements, shantytowns and im-
provisational market areas erected
in a transitory fashion without of -
cial planning or permission. In many
small- to medium-sized cities of the
developing world, which Mehrotra
sees as vital to our future, you have
a large rural population, much like
most attendees of the Kumbh, ock-
ing to newly expanding cities and of-
ten ending up in the kinetic , informal
areas. He hopes his research can in-
form how city governments or urban
planners respond to these new waves
of often unforeseen urban expansion.
There are a few central insights,
he says. First, you need exible in-
frastructure that can be rapidly de-
ployed for sanitation, transport and
electricity. Second, public-private
partnerships can work if its very
clearly understood what each side
will do. Here the religious groups
knew exactly what they would get
from the government and what they
would have to ll in for themselves.
Third, we can see that when there is
a common cultural identity, as there
is among the Kumbh Mela attendees,
it means that they can much more
easily conform to the norms of a new
place and live together.
Whats most interesting to me
about Mehrotras insights is that he
has found such practical wisdom wo-
ven into the fabric of the gathering.
That this public-private conglom-
eration could pull of such a massive
event is no small achievement and, as
Rampuri, the California-raised guru
pointed out, its not clear wed be able
to stage an event of this magnitude in
the West. Can you imagine, he asked,
if millions and millions of people sud-
denly descended on Kansas City?
After a night preparing and praying, an ascetic
exulted in a purifying dip in the Ganges.
See more of Alfred Yaghobza-
dehs Kumbh Mela images at
Smithsonian.com/kumbh

BERTOLT MEYER PULLS OFF HIS LEFT FOREARM
and gives it to me. Its smooth and black, and the hand has a
clear silicone cover, like an iPhone case. Beneath the rubbery
skin are skeletal robotic ngers of the sort you might see in a
sci- moviethe cool factor, Meyer calls it.
I hold the arm in

my hand. Its pretty light, I say. Yes, only a couple of pounds,
he responds.
I try not to stare at the stump where his arm

should be. Meyer explains how his prosthetic limb works. The
device is held on by suction. A silicone sheath on the stump helps
create a tight seal around the limb. It needs to be comfortable
and snug at the same time, he
says.
Can I touch it? I ask.

Go ahead, he says. I run my
hand along the sticky silicone
and it helps dispel my unease
the stump may look strange,
but the arm feels strong and
healthy.
Meyer, 33 , is slightly
built and has dark features
and a friendly face. A native of
Hamburg, Germany, currently
living in Switzerland, he was born with only an inch or so of arm
below the left elbow. He has worn a prosthetic limb on and of
since he was 3 months old. The rst one was passive, just to get
his young mind accustomed to having something foreign attached
to his body. When he was 5 years old, he got a hook, which he
controlled with a harness across his shoulders. He didnt wear it
much, until he joined the Boy Scouts when he was
12. The downside is that it is extremely uncomfort-
able because youre always wearing the harness, he
says.
This latest iteration is a bionic hand, with

each nger driven by its own motor. Inside of the
REPLACEABLE
YOU
The same technologies driving the revolution
in personal electronics are ushering in a new
era in bionic limbs and organs
Right: Engineers created
a robot called the Bionic
Manusing prosthetic
limbs and articial organs
worth $1 millionto
showcase how much of
the human body can now
be rebuilt with metal,
plastic and circuitry.
by GEOFF BRUMFI EL
photograph by JAMES CHEADLE

molded forearm are two electrodes
that respond to muscular signals in
the residual limb: Sending a signal to
one electrode opens the hand and to
the other closes it. Activating both al-
lows Meyer to rotate the wrist an un-
nerving 360 degrees. The metaphor
that I use for this is learning how to
parallel park your car, he says as he
opens his hand with a whir. At rst, its
a little tricky, but you get the hang of it.
Touch Bionics, the maker of this
mechanical wonder, calls it the
i-limb. The name represents more
than marketing. Improved software,
longer-lasting batteries and smaller,
more power-efficient microproces-
sorsthe technologies driving the
revolution in personal electronics
have ushered in a new era in bionics.
In addition to prosthetic limbs, which
are more versatile and user-friendly
than ever before, researchers have de-
veloped functioning prototypes of ar-
ticial organs that can take the place
of ones spleen, pancreas or lungs. And
an experimental implant that wires
the brain to a computer holds the
promise of giving quadriplegics con-
trol over articial limbs. Such bionic
marvels will increasingly nd their
way into our lives and our bodies. We
have never been so replaceable.
I met Meyer on a summer day in
London, in the courtyard of a 19th-
century cookie factory. Meyer is a so-
cial psychologist at the University of
Zurich, but his personal experiences
with prosthetics have instilled in
him a fascination with bionic tech-
nology. He says the past ve years, in
particular, have seen an explosion of
innovation. As we chatted over cofee,
engineers worked on a novel demon-
stration in a nearby building. During
the past few months, they had been
gathering prosthetic limbs and arti-
cial organs from around the world to
be assembled into a single, articial
structure named the Bionic Man. You
can see the startling results in a doc-
umentary airing October 20 on the
Smithsonian Channel.
Engineers designed the Bionic Man
to enable several of its human-depen-
dent parts to operate without a body.
For instance, although the robot is
K
I
E
R
A
N

D
O
D
D
S
had worked on the articial organs,
he says. Although multiple articial
organs cant yet function together in
a single human body, the scenario
has become realistic enough that
bioethicists, theologians and others
are contending with the question,
How much of a human being can
be replaced and still be considered
human? For many, the criterion is
whether a device enhances or in-
terferes with a patients ability to
relate to other people. Theres broad
agreement, for instance, that tech-
nology that restores motor functions
to a stroke victim or provides sight
to the blind does not make a person
less human. But what about technol-
ogy that could one day transform the
brain into a semi-organic supercom-
puter? Or endow people with senses
that perceive wavelengths of light,
frequencies of sounds and even types
of energy that are normally beyond
our reach? Such people might no lon-
ger be described as strictly human,
regardless of whether such enhance-
ments represent an improvement
over the original model.
These big questions seem far away
when I rst see engineers working
on the Bionic Man. It is still a face-
less collection of unassembled parts.
Yet the arms and legs laid out on a
long black table clearly evoke the hu-
man form.
Meyer himself speaks to that qual-
ity, describing his i-limb as the rst
prosthetic he has used in which the
aesthetics match the engineering. It
truly feels like part of him, he says.
David Gow, a Scottish engineer
who created the i-limb, says one of the
most significant accomplishments
in the eld of prosthetics has been
making amputees feel whole again,
and no longer embarrassed to be seen
wearing an articial limb. Patients
actually want to shake peoples hands
with it, he says.
Gow, 56, has long been fascinated
by the challenge of designing pros-
thetics. After briey working in the
defense industry he became an engi-
neer at a government research hospi-
tal attempting to develop electrically
powered prosthetics. He had one of
fitted with i-limbs, it doesnt pos-
sess the nervous system or brain to
make them work. Instead, the Bionic
Man can be controlled remotely via a
computer and specially designed in-
terfacing hardware, while a Bluetooth
connection can be used to operate
the i-limbs. Nonetheless, the robot
vividly showcases how much of our
bodies can be replaced by circuits,
plastic and metal. Adding to the dra-
matic efect, the Bionic Mans face is
a silicone replica of Meyers.
Rich Walker, the managing direc-
tor of the project, says his team was
able to rebuild more than 50 percent
of the human body. The level of prog-
ress in bionics surprised not only
him but even the researchers who
Prosthetics
are improving
so quickly
that one
inventor boldly
predicts that
disabilities
will be largely
eliminated by
the end of the
21st century.

K
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his rst breakthroughs while trying
to gure out how to design a hand
small enough for children. Instead
of employing one central motor, the
standard approach, he incorporated
smaller motors into the thumb and
ngers. The innovation both reduced
the size of the hand and paved the way
for articulated digits.
That modular design later became
the basis for the i-limb: Each nger is
powered by a 0.4-inch motor that auto-
matically shuts down when sensors in-
dicate suf cient pressure is applied to
whatever is being held. Not only does
that prevent the hand from crushing,
say, a foam cup, it allows for a variety
of grips. When the ngers and thumb
are lowered together, they create a
power grip for carrying large objects.
Another grip is formed by closing the
thumb on the side of the index nger,
allowing the user to hold a plate or (ro-
tating the wrist) turn a key in a lock.
A technician or user can program the
i-limbs small computer with a menu
of preset grip congurations, each of
which is triggered by a specic mus-
cle movement that requires extensive
training and practice to learn. The
latest iteration of the i-limb, released
this past April, goes a step farther: An
app loaded onto an iPhone gives users
access to a menu of 24 diferent pre-
set grips with the touch of a button.
To Hugh Herr, a biophysicist and
engineer who is the director of the
biomechatronics group at the Mas-
sachusetts Institute of Technologys
Media Lab, prosthetics are improving
so quickly that he predicts disabilities
will be largely eliminated by the end of
the 21st century. If so, it will be in no
small part thanks to Herr himself. He
was 17 years old when he was caught
in a blizzard while climbing New
Hampshires Mount Washington in
1982. He was rescued after three-and-
a-half days, but by then frostbite had
taken its toll, and surgeons had to am-
putate both his legs below the knees.
He was determined to go mountain
climbing again, but the rudimentary
prosthetic legs he had been tted with
were only capable of slow walking.
So Herr designed his own legs, opti-
mizing them to maintain balance on
mountain ledges as narrow as a dime.
More than 30 years later, he holds or
co-holds more than a dozen patents
related to prosthetic technologies, in-
cluding a computer-controlled arti-
cial knee that automatically adapts to
diferent walking speeds.
Herr personally uses eight diferent
kinds of specialized prosthetic legs,
designed for activities that include
running, ice climbing and swimming.
Its extremely dif cult, he says, to de-
sign a single prosthetic limb to do
many tasks as well as the human body.
But he believes that a prosthesis capa-
ble of both walking and running that
performs at the level of the human leg
is just one or two decades away.
The oldest known prosthetics were
used some 3,000 years ago in Egypt,
where archaeologists have unearthed
a carved wooden toe attached to a
piece of leather that could be tted
onto a foot. Functional mechanical
limbs didnt come along until the 16th
century, when a French battleeld
surgeon named Ambroise Par in-
vented a hand with exible ngers op-
erated by catches and springs. He also
built a leg with a mechanical knee that
the user could lock into place while
standing. But such advances were the
exception. Throughout most of hu-
man history, a person who lost a limb
was likely to succumb to infection and
die. A person born without a limb was
typically shunned.
In the United States, it was the Civil
War that first put prosthetics into
widespread use. Amputating a shat-
tered arm or leg was the best way to
prevent gangrene, and it took a prac-
ticed surgeon just minutes to admin-
ister chloroform, lop of the limb and
sew the ap shut. Around 60,000 am-
putations were performed by both
North and South, with a 75 percent
Below, from left: The earliest known articial limbs were used in Egypt some 3,000 years ago. Only recently have we begun to see exponential advances
in prosthetics, such as the i-limb hand, worn by social psychologist Bertolt Meyer, which can translate his muscle signals into multiple grips.

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J A M E S V E Y S E Y / C A M E R A P R E S S / R E D U X ; S E C O N D S I G H T ; J A M E S C H E A D L E ( 2 )

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achieved just that when they con-
nected a robotic arm directly into the
mind of Cathy Hutchinson, a 58-year-
old quadriplegic who is unable to
move her arms and legs. The results,
captured on video, are astounding:
Cathy can pick up a bottle and lift it
to her mouth to drink.
This feat was made possible when
neurosurgeons created a small hole in
Cathys skull and implanted a sensor
the size of a baby aspirin into her mo-
tor cortex, which controls body move-
ments. On the outside of the sensor are
96 hair-thin electrodes that can detect
electrical signals emitted by neurons.
When a person thinks about perform-
ing a specic physical tasksuch as
lifting her left arm or grabbing a bot-
tle with her right handthe neurons
emit a distinct pattern of electrical
pulses associated with that motion.
In Hutchinsons case, neuroscientists
rst asked her to imagine a series of
body movements; with each mental
efort, the electrodes implanted in her
brain picked up the electrical pattern
generated by the neurons and trans-
mitted it through a cable to an exter-
nal computer near her wheelchair.
Next, the researchers translated each
pattern into a command code for a ro-
botic arm mounted on the computer,
allowing her to control the mechan-
ical hand with her mind. The whole
study is embodied in one frame of the
video, and that is Cathys smile when
she puts the bottle down, says Brown
neuroscientist John Donoghue, who
co-directs the research program.
Donoghue hopes this study will
eventually make it possible for the
brain to form a direct interface with
bionic limbs. Another goal is to develop
an implant that can record and trans-
mit data wirelessly. Doing so would
eliminate the cord that presently con-
nects the brain to the computer, allow-
ing mobility for the user and lowering
the risk of infection that results from
wires passing through the skin.
Perhaps the toughest challenge
faced by inventors of articial organs
is the bodys defense system. If you
put something in, the whole bodys
immune system will try to isolate it,
says Joan Taylor, a professor of phar-
survival rate. After the war, when the
demand for prosthetics skyrocketed,
the government stepped in, providing
veterans with money to pay for new
limbs. Subsequent wars led to more
advances. In World War I, 67,000 am-
putations took place in Germany alone,
and doctors there developed new arms
that could enable veterans to return to
manual labor and factory work. Fol-
lowing World War II, new materials
such as plastics and titanium made
their way into articial limbs. You
can nd major innovations after every
period of war and conict, says Herr.
The wars in Iraq and Afghanistan
are no exception. Since 2006, the De-
fense Advanced Research Projects
Agency has put some $144 million
into prosthetic research to help the
estimated 1,800 U.S. soldiers who have
sufered traumatic limb loss.
Some of that investment went to
Herrs most prominent invention, a
bionic ankle designed for people who
have lost one or both legs below the
knees. Known as the BiOM and sold
by Herrs company iWalk (there are a
lot of lowercase is oating around
the prosthetics industry these days),
the devicetted with sensors, mul-
tiple microprocessors and a battery
propels users forward with each step,
helping amputees regain lost energy
as they walk. Roy Aaron, a professor
of orthopedic surgery at Brown Uni-
versity and the director of the Brown/
VA Center for Restorative and Regen-
erative Medicine, says people who
use a BiOM compare it to striding on
a moving walkway at an airport.
Herr envisions a future where
prosthetics such as the BiOM can be
merged with the human body. Ampu-
tees who sometimes have to endure
chang and sores while wearing their
devices might one day be able to at-
tach their articial limbs directly to
their bones with a titanium rod.
Michael McLoughlin, the engineer
leading development of advanced
prosthetics at the Johns Hopkins
University Applied Physics Labora-
tory, also wants to see bionic limbs
that are more integrated with the hu-
man body. The Modular Prosthetic
Limb (MPL), an articial arm-and-
hand mechanism that was built by
the Johns Hopkins lab, has 26 joints
controlled by 17 separate motors and
can do just about everything a nor-
mal limb can do, says McLoughlin.
But the MPLs sophisticated move-
ments are limited by the level of
technology available for interfacing
with the bodys nervous system. (Its
comparable to owning a top-of-the-
line personal computer thats hooked
up to a slow Internet connection.)
Whats needed is a way to increase the
data owpossibly by establishing a
direct uplink to the brain itself.
In April 2011, researchers at Brown
See a clip of the Smithsonian
Channel lm on bionics at
Smithsonian.com/bionic
Each nger is
powered by a
0.4-inch motor
that senses
when su cient
pressure is
being applied.
An iPhone
app gives
users access
to a menu of 24
dierent grips.

maceutics at De Montfort University
in England, who is developing an arti-
cial pancreas. Her ingenious device
contains no circuitry, batteries or mov-
ing parts. Instead, a reservoir of insu-
lin is regulated by a unique gel barrier
that Taylor invented. When glucose
levels rise, the excess glucose in the
bodys tissues infuse the gel, causing it
to soften and release insulin. Then, as
glucose levels drop, the gel re-hardens,
reducing the release of insulin. The ar-
ticial pancreas, which would be im-
planted between the lowest rib and the
hip, is connected by two thin catheters
to a port that lies just beneath the skins
surface. Every few weeks, the reser-
voir of insulin would be relled using a
syringe that ts into the port.
The challenge is, when Taylor
tested the device in pigs, the animals
immune system responded by form-
ing scar tissue known as adhesions.
They are like glue on internal or-
gans, Taylor says, causing constric-
tions that can be painful and lead to
serious problems. Still, diabetes is
such a widespread problemas many
as 26 million Americans are af icted
that Taylor is testing the articial pan-
creas in animals with an eye toward
solving the rejection problem before
beginning clinical trials with people.
For some manufacturers of arti-
ficial organs, the main problem is
blood. When it encounters something
foreign, it clots. Its a particular obsta-
cle to crafting an efective articial
lung, which must pass blood through
tiny synthetic tubes. Taylor and other
researchers are teaming up with bio-
material specialists and surgeons
who are developing new coatings and
techniques to improve the bodys ac-
ceptance of foreign material. I think
with more experience and expert
help, it can be done, she says. But be-
fore Taylor can continue her research,
she says she needs to nd a partner to
provide more funding.
And private investors can be hard
to come by, since it may take years
to achieve the technological break-
throughs that make an invention
profitable. SynCardia Systems, an
Arizona company that makes an ar-
ticial heart device capable of pump-
ing up to 2.5 gallons of blood per min-
ute, was founded in 2001 but wasnt
in the black until 2011. It recently
developed a portable battery-pow-
ered compressor weighing only 13.5
pounds that allows a patient to leave
the connes of a hospital. The FDA
has approved the SynCardia Total
Artificial Heart for patients with
end-stage biventricular failure who
are waiting for a heart transplant.
Makers of bionic arms and legs also
ght an uphill nancial battle. You
have a high-end product with a small
market and that does make it chal-
lenging, says McLoughlin. This is
not like investing in a Facebook or a
Google; youre not going to make your
billions by investing in prosthetic
limbs. Meanwhile, government
money for advanced prosthetics could
get tighter in coming years. As the
wars wind down, funding for this kind
of research is going to drop of, ortho-
pedic surgeon Roy Aaron predicts.
Then theres the cost of purchasing
a prosthetic limb or articial organ. A
recent study published by the Worces-
ter Polytechnic Institute found that
robotic upper limb prosthetics cost
$20,000 to $120,000. Although some
private insurance companies will
cover 50 to 80 percent of the fee, oth-
ers have payment caps or cover only
one device in a patients lifetime. In-
surance companies are also known to
question whether the most advanced
prosthetics are medically necessary.
Herr believes that insurance pro-
viders need to radically rethink their
Argument from Design
What of the watchmaker can we know from the watch?
That he was a careless sort, for one thing,
losing a perfectly good timepiece in high grass,
or that he made it for someone equally
careless, all his clockwork wasted.
Dont try to wind it now. Its springs,
like dried bird bones, have lost their springiness.
The tiny teeth of its gears are rotted out.
And from the age of the watch,
the watchmaker, too, must be similarly deteriorated.
So, in fact, there is a great deal of correspondence
between the maker and the thing he made.
Thats pretty surprising, since
it seems almost never to work that way.
A radiant abstract painting, for example,
tells us nothing of the sad end of the artist
or what put those dark ideas in his head.
Or maybe thats all we do see
when we look at those paintings
or at a postcard of one
tacked above the desk on a cool summer night.
The causes dont stay causeless long
and, in hindsight anyway, make sense, we like to believe,
speeding on even after the watch has stopped.
-David Yezzi

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chimes in: I gotta tell you something,
it looks amazing. Its like a Batman
arm! Kane does a demonstration for
the man. Such technology is as much
about changing the way people see him
as it is about changing what he can do.
I ask Kane about some of the far-out
advances that might be available to
him in the coming decades. Would he
want a limb that was bolted to his skel-
etal system? Not really. I like the idea
that I can take it of and be me again,
he says. What about a prosthetic arm
that could directly interface with his
brain? I think that would be very in-
teresting, he says. But he would worry
about something going wrong.
Depending on what happens next,
Kanes future may be lled with tech-
nological marvelsnew hands and
feet that bring him closer to, or even
beyond, the capabilities of a so-called
able-bodied person. Or progress
might not come so fast. As I watch
him dart across the road to the bus
stop, it occurs to me that hell be ne
either way.
cost-benet analyses. Although the
latest bionic prosthetics are more
expensive per unit than less-complex
devices, he argues, they reduce health
care payouts across the lifetime of the
patient. When leg amputees use low-
tech prostheses, they develop joint
conditions, knee arthritis, hip ar-
thritis, and theyre on continual pain
medication, says Herr. They dont
walk that much because walking is
dif cult, and that drives cardiovas-
cular disease and obesity.
Other trends, however, suggest that
articial limbs and organs may con-
tinue to improve and become more af-
fordable. In the developed world, people
are living longer than ever, and they are
increasingly facing failures of one body
part or another. The number one cause
of lower-limb amputation in the United
States is not war but diabetes, which
in its later stagesespecially among
the elderlycan hamper circulation to
the extremities. Moreover, Donoghue
believes the brain-prosthetic inter-
face hes working on could be used by
stroke patients and people with neuro-
degenerative diseases to help restore
some degree of normalcy to their lives.
Were not there yet, Donoghue ad-
mits, adding: There will come a time
when a person has a stroke and if we
cant repair it biologically, there will
be an option to get a technology that
will rewire their brain.
Most of those technologies are still
years away, but if anyone will bene-
t it will be Patrick Kane, a talkative
15-year-old with chunky glasses and
wispy blond hair. Shortly after birth,
he was stricken by a massive infection
that forced doctors to remove his left
arm and part of his right leg below the
knee. Kane is one of the youngest per-
sons to be tted with an i-limb pros-
thetic of the sort Meyer showed me.
The thing Kane likes most is the way
it makes him feel. Before, the looks I
got were an Oh, what happened to
him? Poor him, sort of thing, he says
as we sit in a London caf. Now, its
Ooh? Whats that? Thats cool! As if
on cue, an elderly man at the next table
Above: Hugh Herr, who lost his legs to frostbite while mountain climbing in 1982, has invented several high-tech prosthetics, including the BiOM articial
ankle. He personally uses eight dierent prosthetic legs specially designed for activities that include running, swimming and ice climbing.

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Smithsonian
Deep in the heart of Posey Hollow, on
the grounds of the Smithsonian Con-
servation Biology Institute in Front
Royal, Virginiapast the straight,
sturdy hickories and a gnarled,
250-year-old black gum, the oldest
tree in a forest that was clear-cut
for farming in Colonial timesa
galvanized steel tower rises 170 feet
into the sky. When construction was
completed, in late July, it became the
tallest structure for at least an hours
drive in any direction. When scien-
tists install an array of instruments
on the tower next month, the sur-
rounding forest will become one of
the most closely studied in the world.
The tower is one of 60 to be built
across the United States as part of
the National Ecological Observatory
Network (NEON), a massive moni-
toring project, sponsored by the Na-
tional Science Foundation, that will
take the pulse of the nations environ-
ment. For 30 years starting in 2017,
when the network is due to be com-
pleted, the towers will continuously
measure temperature, carbon-di-
oxide concentration, moisture and
many other variables in 20 diferent
types of ecosystems. Posey
Hollow is representative of a
Dierent strummers, kinky boots, lions and tourmobiles . . . and more!
Into the Wired
Grand-scale ecology brings a Virginia
forest under unprecedented scrutiny
by Joseph Stromberg | PHOTOGRAPH BY Stephen Voss
McShea (in Posey
Hollow): Nobody
has tried anything
nearly as com-
prehensive.

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ing development. Every tree in here
with a diameter of over a centimeter
weve mapped, measured and identi-
ed, McShea told me in early June as
we hiked into the forest to see where
the tower would be built. That comes
to 41,031 trees of 65 species.
The scientists say the data gath-
ered by the tower instruments will
shed new light on the critical role that
forests play in the greater environ-
ment. What Im most excited about
is a sensor that makes continuous
measurement of the exchange of car-
bon dioxide and water vapor between
the forest and the atmosphere, says
Kristina Teixeira, a forest ecologist
at the institute. From this, you can
get the total amount of carbon dioxide
being taken up by the forest on a daily
or annual time scale. By comparing
the rate of carbon dioxide absorp-
tion with surveyed tree growth, sci-
entists will be able to calculate how
efectively forests like this one miti-
gate greenhouse-gas emissionsan
increasingly important issue as the
climate changes. Other data will help
researchers model how forests are
afected by drought, rising tempera-
tures and other factors, and could
help them determine how certain na-
tive trees, such as that ancient black
gum, withstand invasive species.
One of the most innovative aspects
of NEON, though, has less to do with
gathering information than with dis-
tributing it: The data will be made
publicly available in real time over
the Internet, so everyone with a stake
in the ongoing changes to our envi-
ronment will have a chance to mon-
itor them. As Teixeira says, Anyone
with a good idea can just go in there
and test their hypothesis.
This Just In
When the Shoe Fits
Combining Native American tradi-
tion with French chic, Jamie Okuma,
an artist who lives on the La Jolla
Luiseo reservation in Southern
California, embellished these shoes
by the designer Christian Louboutin
with beads and porcupine quills.
Indians beaded everything when
they started getting Western-style
clothing, she says. Her pieces up-
date that practice, and then some.
I can live on the reservation and
know who Christian Louboutin is,
says Okuma, whose ancestors were
Luiseo, Shoshone-Bannock and
Okinawan-Hawaiian. She began her
career by making stunningly de-
tailed dolls, or soft sculptures
in 2000, at age 22, she became
the youngest artist to win best of
show at the annual Santa Fe Indian
Market before moving on to haute
fashion. The American Indian Muse-
um, which owns some 3,000 exam-
ples of tribal footwear, purchased
two pairs of Okuma shoes ; one is
on display in the exhibition Best
of Beadwork. PAUL BISCEGLIO
second-growth Eastern forest, there
being virtually no old-growth forest
left in the Eastern United States.
Another tower will be installed at a
Smithsonian research center on the
shore of the Chesapeake Bay, to cap-
ture a Mid-Atlantic coastal ecosys-
tem. At each NEON site researchers
also will monitor soil conditions
and collect insects, birds, plants and
small animals. Once a year or so,
airplanes carrying laser equipment
will y over the forests to create
high-resolution digital scans of the
tree canopy so scientists can track
its density and growth. The NEON
project will also incorporate data
from 46 aquatic sites to paint a more
complete picture of our ecosystem
nationwide. Ecology is going big-
scale. If you want to understand
how the environment works, you
need to sample widely and bring in
as many variables as possible, says
Bill McShea, a Smithsonian wildlife
ecologist. But so far, nobody has
tried anything nearly as comprehen-
sive as this.
The Conservation Biology Insti-
tute was founded to conduct research
on endangered animals, and it is still
home to such creatures as cheetahs,
red pandas and gazelles. But over the
past ve years researchers have tak-
en a magnifying glass to a 63-acre
section of Posey Hollow to better
understand a forest that is growing
without the pressures of encroach-
SMI THSONI AN
Playlist
Finger-Pickin Good
The banjo, invented some 400 years ago by enslaved Africans in the Caribbean, proved to be remarkably
adaptable after it found a home on the North American mainland. Classic Banjo, a 30-track anthology re-
leased last month on Smithsonian Folkways Recordings, draws on artists as varied as Pete Seeger, Elizabeth
Cotten, Bill Keith and Tony Trischka to trace the instruments spread into minstrelsy, ragtime, bluegrass and
other musical forms. The banjo is not just a stereotype anymore, says Greg C. Adams, who compiled the
album with archivist Je Place. It is a gateway to understanding the American experience. PAUL BISCEGLIO
Listen at Smithsonian.com/banjo N
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Actual size 19 mm
The ONLY Confederate Cent Ever Struck
Hidden from Abraham Lincoln. Now authorized by the Smithsonian Institution
T
here was only one Confederate
cent design ever commissioned
and struck during the Civil War.
Surprisingly, the Confederate coin
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living in Philadelphia: Robert Lovett,
Jr. Although Lovett at rst designed the
coin with dreams of glory, he soon lost
his nerve and realized that he could be
hanged for treason if Abraham Lincolns
federal forces ever discovered his
Southern secret. In order to hide the
evidence, Lovett hid the few Confederate
coins he had struck, and buried the
coin dies in his basement. He then
silently kept his treasonous secret
until long after the Civil War was over.
A Civil War Treasure of
the Smithsonian Institution
When Lovetts secret was nally revealed
in 1873, his coins and original dies
began a colorful saga. Today, one of
his original 1861 Confederate Cents is
highly sought-after by both coin collectors
and Civil War enthusiasts. One sold at
a 2005 auction for more than $74,000!
Lovetts original hand-engraved dies for
the coins eventually came to be housed
in the prestigious collection of the
Smithsonian Institution
.
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Why dont wild lions attack human
tourists in open vehicles? Douglas
Hall, Suwanee, Georgia
Its all about predator-prey dynamics:
A lion wouldnt think twice about
going after an individual human,
but a motor vehicle is just so much
larger than any animal a lion would
usually attack as prey (or perceive
as a threat it could handle). This dy-
namic also helps explain why animals
do things or have characteristics
to make themselves look largerto
avoid being perceived as easy prey.
Craig Safoe, curator of great cats,
National Zoo
What would happen to the Earth if
the Moon were destroyed?
Rose Mary Bundscho, Houston
SMI THSONI AN
I LLUSTRATI ON BY Jungyeon Roh
local bodies of water, seaoor char-
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level rise. Patrick Megonigal, climate
change ecologist, Smithsonian
Environmental Research Center
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Germantown, Wisconsin
No specic individual or spiritual
tradition. Yoga emerged in northern
India about 2,500 years ago, as men
and women of various faiths began
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meditation as a means of rising above
the pain of existence. By the seventh
century A.D., the core concepts, prac-
tices and vocabulary of almost every
yoga system were established, though
variations and expansions continue.
Debra Diamond, curator, Yoga:
The Art of Transformation,
Sackler Gallery
Theres a vibrant literature on the
subject on the Internet, but the logic
chains are rather long and sometimes
hard to follow. In reality, any event
violent enough to destroy the Moon
would likely destroy the Earth, too.
Speaking less literally, the Earth
without the Moon would be a planet
without tidesand with a less com-
pelling night sky. David DeVorkin,
curator of astronomy and space
sciences, Air and Space Museum
How long ago did humans develop
the ability to speak and form words?
Marsha Cox, Kure Beach,
North Carolina
We dont know about spoken words;
they dont turn into fossils that we
can discover and date. But written
words date back about 8,000 years,
and evidence of artistic expression,
such as sculptures and paintings, is
much more ancient. For instance,
humans began using pigments like
ocher and manganese to mark objects,
and possibly their own skin, between
320,000 and 260,000 years ago.
Briana Pobiner, paleoanthropolo-
gist, Natural History Museum
We often hear that climate change is
raising the sea level. Is it rising globally
or in specic locations? Wayne
Gilbert, Westminster, Colorado
The sea level is rising worldwide, but
not uniformly, due to diferences in
ocean circulation, winds, the shape of

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Gecko cross
the road?
Caught in the Act
Ends March 2014
From breathtaking vistas to candid
moments with wild animals (above:
Jellysh, by Adriana Basques), the
annual Natures Best Photography
show reects the beauty, complexity
and diversity of life on earth. All the
pictures, displayed as large-format
prints at the Museum of Natural His-
tory, are winners of the Windland
Smith Rice International Awards,
which honor the nest amateur and
professional nature photography
from around the world.
Flight of Fancy
Ends October 22, 2013
Four centuries
before the Wright
Brothers rst
ight, Leonardo
da Vinci (above)
created his Codex
on the Flight of
Birds, which con-
tained his designs
for early ying ma-
chines. Examine
the original codex,
on loan from the
Royal Library of
Turin, at the Air
and Space Muse-
um, alongside an
interactive station
that allows visitors
to virtually leaf
through its pages.
SMI THSONI AN SPOTLI GHT
Get an insiders look at the Smithsonian at
Smithsonian.com/mallblog
Native Place
Ends June 15, 2014
The Anishinaabe people reside
in more than 150 communities
in the United States and Canada
and share a homeland in the
Great Lakes region as well as a
language. Before and After the
Horizon: Anishinaabe Artists
of the Great Lakes, at the
American Indian Museums Heye
Center in New York, explores
the enduring legacy of these
ancestral ties by juxtaposing
more than 100 contemporary and
modern works, including Patrick
DesJarlaits Cubist-inuenced
Maple Sugar Time (below), with
traditional Anishinaabe artifacts.
Mystery Man
Ends February 9, 2014
If an artist is one who spends his life trying to
dene his being, I guess I would have to call myself
an artist, the geologist-cum-photographer Roger
Ballen, a New York native
living in Johannesburg,
has said. Lines, Marks,
and Drawings: Through
the Lens of Roger Ballen,
at the Museum of African
Art, traces his work, from
portraits to glyphlike abstrac-
tions (right: Injured, 2007).
Time Machines
Ends Spring 2014
From 1790 to 1880, U.S.
patent applications
included three-dimen-
sional working mod-
els, yielding a novel
material portrait
of American life.
See models of
the rst equa-
torial sextant
(right), an
improved
rotary print-
ing press, a
spring-load-
ed earring
and more in
Invention
and the Pat-
ent Model at
the Museum
of American
History.
by Vicky Gan
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with a peripatetic tour of Wilde shrines
and testimonies from witnesses such
as Tom Stoppard, Gore Vidal and that
modern Irish bard Bono.
And it turns out that it is Bono who
best articulates, with of and sagacity,
the counterpoint relationship between
Salome and Wildes tragedy. Salome,
Bono says on camera, is about the de-
structive power of sexuality. He spec-
ulates that in choosing that particular
biblical tale Wilde was trying to write
about, and write away, the self-de-
structive power of his own sexuality,
of cially illicit at the time.
Pacino has an electrifying way of
summing it all up: Its about the third
rail of passion.
Theres no doubt Pacinos dual Sa-
lome lms will provoke debate. In fact,
they did immediately after the lights
came up in the Santa Monica screen-
ing room, where I was watching with
Pacinos longtime producer Barry
Navidi and an Italian actress friend
of his. What do you call what Salome
was experiencinglove or lust or pas-
sion or some powerful cocktail of all
three? How do you dene the difer-
ence among those terms? What name
to give her ferocious attraction, her
rage-lled revenge? We didnt resolve
anything but it certainly homes in on
what men and women have been heat-
edly arguing about for centuries, what
were still arguing about in America in
the age of Fifty Shades of Grey.
Later in Beverly Hills, I told Pacino
Pacino
CONTINUED FROM PAGE 28
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Pacino has an
electrifying way of
summing it all up:
Its about the third
rail of passion.
Theres no doubt
Pacinos dual
Salome lms will
provoke debate.

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about the debate: She said love, he said
lust, and I didnt know.
The passion is the eroticism of
it and thats whats driving the love,
he says. Thats what I think Bono
meant. Pacino quotes a line from the
play: Love only should one consider.
Thats what Salome says.
So you feel that she felt love not
lust?
He avoids the binary choice. She
had this kind of feeling when she saw
him. Somethings happening to me.
And shes just a teenager, a virgin.
Somethings happening to me, Im
feeling things for the rst time, be-
cause shes living this life of decadence,
in Herods court. And suddenly she
sees [the Baptists] kind of raw spirit.
And everything is happening to her
and she starts to say I love you and he
says nasty things to her. And she says
I hate you! I hate you! I hate you! Its
your mouth that I desire. Kiss me on
the mouth. Its a form of temporary
insanity shes going through. Its that
passion: You ll my veins with re.
Finally, Pacino declares, Of course
its love.
It wont end the debate, but what
better subject to debate about?
Pacino is still troubling himself over
which lm to release rstSalome or
Wilde Salome. Or should it be both at
the same time? But I had the feeling
that he thinks they are nally done,
nally ready. After keeping at it and
keeping at itcutting them and re-
cutting themthe time has come, the
zeitgeist is right. (After I left, his pub-
licist Pat Kingsley told me that they
Pacino is still
deciding which lm
to release rst
Salome or Wilde
Salome. Or should it
be both at the same
time? He thinks
they are nally
done, nally ready.
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were aiming for an October opening
for both lms, at last.)
Keeping at it: I think that may be the
subtext of the great Frank Sinatra story
he told me toward the end of our con-
versations. Pacino didnt really know
Sinatra and you might think there
could have been some tension con-
sidering the depiction of the Sinatra
character in Godfather. But after some
misunderstandings they had dinner
and Sinatra invited him to a concert at
Carnegie Hall where he was perform-
ing. The drummer Buddy Rich was his
opening act.
Buddy Rich? you might ask, the
fringe Vegas rat-pack guy? Thats
about all Pacino knew about him. I
thought oh, Buddy Rich the drummer.
Well thats interesting. Were gonna
have to get through this and then well
see Sinatra. Well, Buddy Rich starts
drumming and pretty soon you think, is
there more than one drum set up there?
Is there also a piano and a violin and a
cello? Hes sitting at this drum and its
all coming out of his drumsticks. And
pretty soon youre mesmerized.
And he keeps going and its like hes
got 60 sticks there and all this noise, all
these sounds. And then he just starts
reducing them, and reducing them, and
pretty soon hes just hitting the cow-
bell with two sticks. Then you see him
hitting these wooden things and then
suddenly hes hitting his two wooden
sticks together and then pretty soon
he takes the sticks up and were all
like this [miming being on the edge of
his seat, leaning forward]. And he just
separates the sticks. And only silence
is playing.
The entire audience is up, stood up,
including me, screaming! Screaming!
Screaming! Its as if he had us hyp-
notized and it was over and he leaves
and the audience is stunned, were
just sitting there and were exhausted
and Sinatra comes out and he looks at
us and he says. Buddy Rich, he says.
Interesting, huhWhen you stay at a
thing.
You related to that?
Im still looking for those sticks
to separate. Silence. You know it was
profound when he said that. Its some-
thing when you stay at a thing.
PLAN YOUR LEGACY
Inspire and Engage Future Generations
For Dennis Dixon, creating a personal legacy through a planned
gift was a natural extension of his long-term involvement with
the Smithsonian. As a volunteer, Dennis has dedicated his
Sunday mornings to helping visitors explore the richness of the
Smithsonians collections and exhibitions for nearly 20 years.
Ive seen rsthand how this exposure to art and new ideas inspires
and engages thousands of museum visitors each year, says Dennis.
With his bequest, he is condent the Smithsonian will continue to
enrich the lives of people everywhere for generations to come.

To begin planning your legacy, please ll out and return to the address below.
Send information on including the Smithsonian in my will or other estate plans.

I have already included the Smithsonian in my will or other estate plans.
Tell me about gifts to the Smithsonian that provide income for life.
Name
Address
City State Zip Birthdate(s)
Phone Email
To learn more, contact the Ofce of Planned Giving
PO Box 37012 MRC 035, Washington, DC 20013-7012
888.419.7584 I legacy@si.edu I si.giftlegacy.com

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travelogue has easygoing philosoph-
ical weight as well. To explain how
individual perception contributes to
a broader understanding of our efect
on the earth, he writes: Measured
by the magnitude of our collective
impacts, we are far greater than ever,
but individually, we are just about as
small as everand this is the scale at
which we perceive the world.
Book of Ages: The Life and
Opinions of Jane Franklin
by Jill Lepore
The latest book by the Harvard his-
torian, who is known for fascinating
stories woven from meticulous de-
tail, is something of an odd beast: a
sketchy account of Jane Franklin, Ben
Franklins sister, a woman who stood
very close to history but whose con-
ventional historic importance seems
slight. For a long time, I abandoned
the project altogether, writes Lepore,
and what she nally produced is not
so much a conventional biography as
what she calls a meditation on silence
in the archives. Jane Franklin was
perhaps the person to whom Benjamin
felt closest, but she did not possess her
brothers eloquence. She could barely
spell. But that didnt stop them from
carrying on a lifelong correspondence,
which serves as the backbone of this
book. Jane emerges as a spunky, relat-
able, sympathetic character: the one
who took care of the extensive and
often-troublesome Franklin family
in New England while Ben was
of making his name in Phila-
Books
by Chlo Schama
Reckoning with 1945.
Plus: discoveries at sea,
Benjamin Franklins
quiet sister and down
and out in the South
Year Zero: A History of 1945
by Ian Buruma
Setting out to tell the story of how
the modern world emerge[d] from
the wreckage of World War II, the
Dutch writer Ian Buruma gives him-
self a dif cult assignment . Its im-
possible to talk about 1945 without
talking about 1944 and 43 and so on,
although plenty of historiansfrom
Adam Goodheart (1861: The Civil War
Awakening) to Joseph Ellis (Revolu-
tionary Summer: The Birth of Ameri-
can Independence)have lately leaned
upon a limited time frame to justify
their scope. Because the book is orga-
nized thematicallyexultation, re-
venge, the rule of lawrather than
geographically, it swings from Paris to
Saigon to Manchuria to London. The
quick shifts can be dizzying, but you
have to respect Buruma for attempt-
ing to present such a full portrait
andunusual for histories of World
War IIfor giving equal weight to
both European and Asian events. And
when he zooms in on the particulars of
a given hardship, his writing is moving
and evocative. To convey the depriva-
tion that gripped immense expanses
of the world in 1945, he describes, for
instance, Tokyos Ueno Station, crawl-
ing with orphans collecting cigarette
butts, a kind of urban beehive full
of the homeless. In Germany, their
counterparts were camouflaged
in lth, the only clean spots the
whites of their eyes, according to one
British soldier. Year Zero had been
rather eclipsed in the worlds collec-
tive memory by the years of destruc-
tion that preceded it, writes Buruma.
But he makes a compelling case that
many of the modern triumphs and
traumas yet to come took root in this
fateful year of retribution, revenge,
sufering and healing.
Telling Our Way to the Sea:
A Voyage of Discovery in the
Sea of Cortez
by Aaron Hirsh
For ten years, Aaron Hirsh, a biol-
ogist, took college students on an
annual weeklong trip to the Sea of
Cortez, the body of water separating
the Baja Peninsula from the rest of
Mexico. (His wife, biologist Veron-
ica Volny, and their friend, historian
of science Graham Burnett, helped
lead the voyages.) After the group
arrives at a remote shing village,
they observe creatures ranging from
a 200,000-pound fin whalesuch
scale contradicts the fact that this
thing belongs in the elementary men-
tal category called animalsto a
sea cucumber that the students take
turns holding in their hands. Hirsh
makes both of these experiences
awesome; when the sea cucumber -
nally objects to the manhandling by
dissolving the collagen cables that
hold its organs together and shooting
its dark purple innards from its anus,
the students are as stunned and full
of wonder as when they face the mag-
nicent whale. I cant remember the
last time I read a science book with
such elegant writing, and Hirshs

delphia, France and England. Thank-
ing her for caring for their sick, elderly
mother, Ben wrote just after their
mothers death: Our distance made it
impracticable for us to attend her, but
you have supplied all. Such tender mo-
ments humanize this towering gure,
serving as a reminder of his humble
past and the pressing familial concerns
that followed him throughout his life.
With this book, Lepore asserts the im-
portance of the peripheral gures who
supported the central ones. But even
when an expert shines a light on a quiet
story of a quiet life of quiet sorrow and
quieter opinions, its hard to make that
gure come fully alive.
Men We Reaped: A Memoir
by Jesmyn Ward
Toward the end of Jesmyn Wards
moving memoir, the National Book
Awardwinning author of Salvage
the Bones describes the rst time she
drank alcohol as a kid and the morning
after, when, desperately hung over, she
confessed her cooking-sherry binge to
her younger brother. He ofers an ad-
mission of his own as theyre standing
outside in the Mississippi winter: Hes
selling crack. This moment encapsu-
lates the rather bleak mood of Wards
memoir, in which she juxtaposes the
universal experience of growing up
against the peculiar and oppressive
challenges of being black and poor in
the South in the 1980s and 90s. The
book is structured around the deaths
of ve young men (the men we reaped
of the title): Wards brother, her cousin
and three other close friends who
might as well have been family mem-
bers, so uid are the boundaries of this
community. Ward punctuates the story
of her own early life with the tales of
these men to show the proximity of
death in down-and-out Mississippi.
Upon learning that a community park
is also zoned as a burial site, she writes
poignantly: One day our graves will
swallow up our playground. There are
glimmers of hopeand lots of love
here, but the overall impression is that
Ward, who had an early benefactor and
made her way to an Ivy League college,
was very lucky to get out.
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100 SMI THSONI AN.COM | September 2013 100 SMI THSONI AN.COM | September 2013
Chinese Lantern
Hard by the Yangtze River, ten miles from Nanjing,
a giant, glowing hollowed-out trapezoid hovers above the
trees. The otherworldly Sifang Art Museum, designed by the
American architect Steven Holl, is set to open later this year, an
edgy sign of the ancient citys rapid modernization. The 15,000-square-
foot museum, part of a planned complex of signature structures intended to
put Nanjing on the art-world map , has two strikingly diferent levels. The lower
one, with its plant-covered roof and black concrete walls, nestles into a hill by the
river ; inside are traditional white-walled galleries. Some 30 feet abovereached by an el-
evator or an outdoor stairway that would not be out of place dangling from a ying sauceris
a more futuristic space. A narrow room, enlivened by translucent polycarbonate paneling, makes
three sharp turns but doesnt meet up with itself. At the far end, an event space looks out across the
river to Nanjing, whose skyline features the four-year-old, 1,480-foot Zifeng Tower, one of the worlds ten
tallest skyscrapers. Holl says his design evokes the shifting viewpoints and parallel perspectives in Chinese
paintings, and the gleaming white and stark black surfaces are a nod to the spare elegance of Chinese calligraphy. All
the color in the museum will come from the art on displayand from the people who visit, says Holl. ELI ZABETH QUI LL Q
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12. Being a Greek Slave
13. Being a Greek
Soldier or Sailor
14. Being a Greek Woman
15. Relaxing Greek Style
16. Being a Greek Refugee
17. Being a Sick or
Disabled Greek
18. Practicing Greek
Religion
19. Being an Old Greek
20. Being a Dead Greek
21. Being Persian
22. Living in Hellenistic
Egypt
23. Being Roman
24. Being a Roman Slave
25. Being a Roman Soldier
26. Being a Roman
Woman
27. Being a Poor Roman
28. Being a Rich Roman
29. Being a Roman
Celebrity
30. Being a Roman
Criminal
31. Relaxing Roman Style
32. Practicing Roman
Religion
33. Being Jewish under
Roman Rule
34. Being Christian
under Roman Rule
35. Being a Celt in
Ancient Britain
36. Being a Roman Briton
37. Being Anglo-Saxon
38. Being a Viking Raider
39. Living under
Norman Rule
40. Being Medieval
41. Being Poor in the
Middle Ages
42. Being a Medieval
Woman
Christian or Heretic
Knight
45. Being a Crusader
46. Being a Pilgrim
47. Relaxing
Medieval Style
48. Daily Life Matters

Taiwans National Palace Museum
Taiwans National Palace Museum houses more than 650,000
cultural artifacts spanning several thousand years of Chinese
history. Unparalleled in its richness and depth, the
fascinating collection includes jade, ceramics, ancient
bronze castings, scroll paintings, porcelain and calligraphy.
Chinas intriguing and complex cultural history is represented
by impressively curated objects from the Song, Yuan, Ming and
Qing Dynasties. After exploring the Museum, stop for tea in the
Sanxitang tearoom on the top foor. In addition to traditional
Taiwanese tea and homemade bread, the tearoom offers beautiful
views oI the mountain valley below. It`s time to discover culture
in Taiwan. Visit eng.taiwan.net.tw to learn more.
Taiwans National Palace Museum
AD sponsored by Taiwan Tourism Bureau
Its time for
culture
inTaiwan
Jadeite Cabbage
With Insects,
Ching Dynasty

Smithsonian - September 2013 K

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September 2013 | smithsonian.com

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