Science blog

What’s going on in the British Library at night? A creamy-brown mottled feather with a broken quill might shed light on some unexpected activities.

A feather

A feather was spotted on a sunny crisp lunch break walk on 15 February 2023. [Fig. 1, 2]

Figure 1 Feather found on 15 February 2023 in the ‘moss-garden”, The British Library St Pancras, London Photo: Andrea Deri

Figure 2 Feather (under side) found on 15 February 2023 in the ‘moss-garden”, The British Library St Pancras, London Photo: Andrea Deri

The feather lay on the moss carpet of the second-floor terrace garden, behind the Barbara Hepworth sculpture and the pergola of the British Library (BL) St. Pancras site under a four-floor high wall [Fig. 3, 4]. The wall may hold the key to the enigmatic feather. [Fig. 5].

Figure 3 Feather in situ, see the yellow dot, found on 15 February 2023 in the ‘moss-garden”, The British Library St Pancras, London. Photo: Andrea Deri

Figure 4 ‘Moss garden’ behind the Barbara Hepworth sculpture and the pergola of the British Library (BL) St. Pancras site under a four-floor high wall, London

Figure 5 High wall above the ‘moss garden’, The British Library St Pancras, London.

The shady moss-garden is one of the least exposed public green areas in the BL [Fig. 6].

Figure 6 ‘Moss-garden’, see the yellow dot, Google map (23 March 2023).

Compared with reliably identified woodcock feathers from a bird found dead in a private garden a couple of years ago, our feather showed striking similarities. But it was just hard to imagine what a woodcock would be doing on the BL Floor Two. Woodcocks are elusive nocturnal woodland birds with a preference for the area between forests and fields [1]

It’s a woodcock!

Having contacted the Angela Marmont Centre for the UK Biodiversity at the Natural History Museum in London (AMC-NHM), the Royal Society for the Protection of Birds (RSPB) https://www.rspb.org.uk/ and experienced London-based naturalists, we got confirmation that the feather indeed belonged to a woodcock (Scolopax rusticola Linnaeus, 1758). [Fig. 7]

Figure 7 Woodcock (Scolopax rusticola) with chick in J.A. Naumann 1902 Unsere Schnepfen.

It is an exciting thought that woodcocks might be around the British Library.

In addition to expert knowledge, we also received helpful resources: a reference image of woodcock feathers; link to Featherbase, a website where exhibits of feathers of a range of species can be studied, several blog posts, and recommendation of a book: Tracks and Signs of the Birds of Britain and Europe [2]

But what would a woodcock be doing on the BL Floor Two?

The 18th century Welsh naturalist Thomas Pennant started the description of woodcocks in his British Zoology (1776) [3] with discussion of their migration, as if it were their most important feature [Fig. 8, 9, 10]:

“These birds during summer are inhabitants of the Alps, of Norway, Sweden, Polish, Prussia, the march of Brandenburg, and the northern parts of Europe: they all retire from those countries the beginning of winter, as soon as the frost commence; which force them into milder climates, where the ground is open, and adapted to their manner of feeding.“ [3]

Figure 8 Cover of Thomas Pennant 1776 British Zoology

Figure 9 First page of the Woodcock (Scolopax rusticola) chapter in Thomas Pennant 1776 British Zoology page 365.

Figure 10 Woodcock (Scolopax rusticola) in Thomas Pennant 1776 British Zoology page 364 Plate XV No. 178.

Pennant did not mention woodcocks in London.

Pennant’s book is part of the King’s Library collection in the British Library. The style of binding is called ‘Tree calf’; an acidic mixture is applied to the leather to create the effect.  The coat of arms could have been added at any time – as we learned from Philippa Marks and John Goldfinch, Curators of Bookbinding. Descriptions of the books and pamphlets in the King's Library (shelved in specific shelfmark ranges: 1.a.1 – 304.k.23 and C.1.a.1 – C.16.i.16) appear in Explore the British Library. Most volumes can be ordered into the Rare Books and Music Reading Room using Explore.

Late 19th century bird books, including the ‘London Birds and Beasts’ already made reference to woodcocks in London [4, 5, 6]:

“In the autumn and early winter woodcocks often drop in town [London] sometimes in most extraordinary places, the overhead wires being in many cases, no doubt, accountable for their appearance.” [5]

The 21st century ‘London Bird Atlas’ features high numbers of woodcock observations plotted on a London map [7].

Most woodcocks in London are winter visitors, arriving in Britain and Ireland between October- December from their breeding sites in the north including Scandinavia, Finland and Russia (from as far as Siberia) [8]. The Eurasian woodcocks’ migration routes and timing is explored by Woodcock Watch organised by the Game & Wildlife Conservation Trust by tagging individual birds.

Migration is a high-risk activity for these birds. In addition to being hunted in large numbers, they can be blown off-course and drowned during storms when crossing the sea. Woodcocks can also starve when they cannot replenish their energy if the soil freezes over and they cannot access their food: worms, soil-dwelling insects [Fig. 11].

Figure 11 Hungry woodcocks (Scolopax rusticola) feeding on earthworms in L. H. De Visme Shaw 1903 Snipe and woodcock. Page 193.

Their feeding habit is captured in the woodcock’s Romanian name: sitar (from the noun sită: colander, sieve). Sitar can be translated as ‘colander maker’. In this case, it refers to the birds making the ground look like a colander, full of holes, as they poke the soil in search of worms – explained Florin Feneru, Identification and Advisory Officer, at the Angela Marmont Centre for UK Biodiversity, The Natural History Museum.

With the increase of tall buildings in London (and other cities), especially with glass windows that woodcocks might perceive as water bodies and fly directly towards them, the exhausted migrating birds can get disoriented and collide with walls when they fly over at night [9, 10]. Predation poses additional hazards: peregrine falcons (Falco peregrinus) have been spotted on live web camera attacking woodcocks during the peak migration time, November – December [11].

Scenarios

So, back to the question: How would a woodcock end up in an urban ‘hanging’ garden and disappear with only one broken feather left behind?

Most probably, this was a migrant woodcock, flying over the BL St Pancras site at night. The circumstances of the ill-fated flight are not known but two of several possible scenarios are described here: collision and predation by peregrine.

Collision

The unfortunate woodcock might have collided with the tall wall of the BL [Fig. 5] when it was flying over central London at night on its migration from the breeding sites in the north. After the collision, the bird might have dropped to the moss garden where a fox (Vulpes vulpes) found it, grabbed it, leaving one broken feather behind, then hurried away with its ‘take-away’.

Predation

A peregrine (Falco peregrinus) could have captured the woodcock and torn it apart while sitting on the high wall ledge above the moss garden. One of the broken feathers of the fast feast made its way down to the moss-carpet.

Both foxes and peregrines have been spotted around the BL St Pancras site. The break on the quill could not have happened by the impact of a fallen bird or its feather but more likely by active force.

When did the feather get separated from the bird?

The woodcock feather was found on 15 February 2023. But it is not known when the feather landed in the place where it was found, the time of the woodcock’s demise. As the majority of continental woodcocks leave the UK during late February and early March to breed [10, 12] the woodcock could have perished either in the autumn or an early homebound flight in the spring migration.

The significance of the feather: monitoring urban wildlife for wildlife-inclusive cities

Wildlife monitoring benefits from citizen science, also referred to as community science. The woodcock feather identification engaged both citizen scientists and professional ornithologists. The feather story generated a peer-reviewed observation, uploaded to iRecord, a UK citizen science biodiversity monitoring tool. iRecord feeds into the National Biodiversity Atlas, a source of evidence for decision making about the natural environment. We hope observations like our woodcock feather will ultimately contribute to evidence-based wildlife-inclusive urban development [13]

The collaboration of libraries, museums, conservation charities and citizen scientists presents a so far under-utilised approach to wildlife conservation. The quick and generous response to our feather query from AMC-NHM, RSPB, and London-based naturalists [Fig. 12] shows the professional strengths of UK wildlife monitoring and conservation networks. With growing urban development and increasing complexities of human-wildlife interactions, monitoring urban wildlife is ever more important [14].

Figure 12 Woodcock in Norfolk at night with flash, January 2023. Photo: Henry Wyn-Jones. Published with permission.

Starts with a walk

The British Library’s remarkable collections are widely known. Yet, the wonders of the Library’s wildlife habitats are under-appreciated. They are here to be discovered for their fabulous biodiversity in addition to provide us with beautiful background. It all starts with a curious walk. The walk becomes a journey of discovery. Curiosity connects wildlife, collections, and people.

Written by Andrea Deri and Greg Smith

Acknowledgement
We would like to thank to Florin Feneru, Identification and Advisory Officer, Angela Marmont Centre for UK Biodiversity, The Natural History Museum, London; Hein van Grouw, Senior Curator, Bird Group, Dept. of Life Sciences, The Natural History Museum, Tring; India James, Supporter Adviser, Royal Society for the Protection of Birds, UK Headquarters The Lodge Sandy; Philippa Marks, Curator, Bookbindings, Western Heritage Collections, The British Library; John Goldfinch, former Curator, Printed Heritage Collections, Western Heritage Collections, The British Library ; Huw Rowlands, Map Processing Coordinator and Cataloguer, India Office Records Map Collection, The British Library; Henry Wyn-Jones, ecologist, ornithologist, wildlife photographer.

References, links and further readings [BL shelfmark]

[1] Davis, J., 2023. European woodcocks have the brightest feathers known to exist. Available at: <https://www.nhm.ac.uk/discover/news/2023/march/european-woodcocks-have-the-brightest-feathers-known-to-exist.html>.

[2] Brown, R., Ferguson, J., Lawrence, M. and Lees, D., 2021. Tracks & signs of the birds of Britain & Europe. Helm identification guides. London Oxford New York New Delhi Sydney: Bloomsbury Wildlife. page 511 [ELD.DS.659867]

[3] Pennant, T., 1776. British Zoology. London: Printed for Benj. White. page 365 [40.d.10-13]

[4] Dixon, C., 1909. The bird-life of London. London: Willam Heinemann. [7285.e.29]

[5] Tristram-Valentine, J.T., 1895. London Birds and Beasts. London. page 252 [720e.bb.20]

[6] Swann, H.K., 1893. The birds of London. London. page 103-104 [7285.b.5]

[6] Woodward, I.D., Arnold, R. and Smith, N., 2017. The London bird atlas. [London], Oxford: London Natural History Society?; John Beaufoy Publishing. page 168 [YKL.209.b.1828]

[7] RSPB, 2023. Woodcock (Scolopax rusticola). [online] Available at: <https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/woodcock/>.

[8] RSPB, 2018. Danger low flying woodcock. Available at: <https://www.rspb.org.uk/about-the-rspb/about-us/media-centre/press-releases/danger-low-flying-woodcock/>.

[9] Hoodless, A.N., Heward, C.J. and Williams, O., 2020. Migration and movements of Woodcocks wintering in Britain and Ireland. British Birds, 113, pp.256–278.

[10] Davies, E. and Hendry, L., 2022. Peregrine falcons are the top birds in town. Available at: <https://www.nhm.ac.uk/discover/peregrine-falcons-and-their-city-success.html>.

[11] Hoodless, A., 2002. Eurasian Woodcock (Scolopax rusticola). In: C. Wernham, ed. The migration atlas: movements of the birds of Britain and Ireland, Repr. 2008. London: T & A D Poyser. pp.319–322. [(B) GC 32]

[12] Kay, C.A.M., Rohnke, A.T., Sander, H.A., Stankowich, T., Fidino, M., Murray, M.H., Lewis, J.S., Taves, I., Lehrer, E.W., Zellmer, A.J., Schell, C.J. and Magle, S.B., 2022. Barriers to building wildlife-inclusive cities: Insights from the deliberations of urban ecologists, urban planners and landscape designers. People and Nature, [online] 4(1), pp.62–70. https://doi.org/10.1002/pan3.10283.

[13] Gaston, K.J. and Evans, K.L., 2010. Urbanization and development. In: N. Maclean, ed. Silent summer: the state of wildlife in Britain and Ireland. Cambridge?; New York: Cambridge University Press.[YK.2010.a.19902]

Birdwatch Magazine [2092.507500]

Birdwatch Monthly [2092.507800]

Hoodless, A. N., 1994. Aspects of the ecology of the European woodcock (Scolopax rusticola L.) [uk.bl.ethos.385917]

Your experience of the COVID-19 pandemic could be an important contribution to science. Researchers from diverse disciplinary backgrounds are keen to learn about your stories, insights, routines, thoughts and feelings. While some projects would be eager to receive diaries in the narrative style of Samuel Pepys or John Evelyn, others want more specific information in survey format.

Illustration: Graham Newby, The British Library: Lockdown Rooms (3rd June 2020)

Citizen science engages self-selected members of the public in academic research that generates new knowledge and provides all participants with benefits. The engagement can vary from data gathering or participatory interpretation to shared research design. Different forms of citizen science can be referred to as public science, public participation in scientific research, community science, crowd-sourced science, distributed engagement with research and knowledge production, or trans-disciplinary research that integrates local, indigenous and academic knowledge.

Contributing to citizen science projects sustains a sense of control, sense of belonging (empowering feelings in and after isolation) and sense of being useful which are particularly important in uncertain times. According to the UK Environment Observation Framework, self-measured evidence is more trusted by people, and organisations that draw on data generated through citizen science are more trusted. Trust is linked to transparency. Better understanding of how scientific knowledge is produced, and having a role and responsibility in shaping the knowledge production process, are likely to enable citizen scientists to re-frame the often-uneasy relationship between society and science.

Scale is a distinctive feature of citizen science. The more people are engaged, the more comprehensive an understanding can be reached about the researched topic. The featured COVID-19 Symptom Study has become the largest public science project in the world in a matter of weeks:  3,881,488 citizen scientists are involved as of 18th June 2020. Big data allowed medics to develop an artificial intelligence diagnostic that can predict the likelihood of having COVID-19 based on the symptoms only: a vital tool indeed when testing is limited.

The citizen science initiatives highlighted here, COVID-19 Symptom Study, COVID-19 and You, and COVID Chronicles, may inspire you to contribute to them or find other projects where you can take an active role in developing better understanding of current and future epidemics.

COVID-19 Symptom Study
https://COVID.joinzoe.com/data
Epidemiology
Institutions: King's College London, ZOE
Launched: 25th March 2020
Your contribution helps you and researchers understand COVID-19 and the dynamics of the pandemic (UK, USA).
How: Submit your physical health status regularly.

COVID-19 and You
https://nquire.org.uk/mission/COVID-19-and-you/contribute
Social sciences
Institutions: The Open University, The Young Foundation
Launched: 7th April 2020
Your contribution helps you and researchers understand how COVID-19 is affecting households and communities across the world.
How: Fill in an online survey with choices and narratives.

In addition to supporting current research, your contribution could add to future inquiries as well. Collecting and archiving short personal stories ensures authentic data will be available when researchers in the future look back to us now with their research questions. Reliable data should be collected now, while we are still living in unprecedented times. It is especially important to record the experiences of people from less privileged backgrounds, in contrast to earlier pandemics where the voices of all but the upper and middle classes, and the political, legal and scholarly elite, have often been lost to history. COVID Chronicles, an archival initiative, is doing just that. COVID Chronicles is a joint project: BBC 4 PM collects and features some of the stories and The British Library archives them all for future academic inquiries.

COVID Chronicles
https://www.bbc.co.uk/news/entertainment-arts-52487414
History, social sciences
Institutions: BBC Radio 4, The British Library
Launched: 30th April 2020
Your contribution helps you and future researchers understand how people experience the COVID-19 pandemic in their daily life, at a personal level.
How: Submit a mini-essay (about 400 words) to BBC Radio 4 PM via e-mail: pm at bbc dot co dot uk. Your essay will be archived by The British Library and made available for future research.

The gradually easing lockdown and the anticipated long journey of national and global recovery generate a growing appetite to record, reflect on and analyse the COVID-19 epidemic's influence on our life. Not all "citizen science" projects observe high standards of privacy and ethical responsibility, however. Before joining in any research with public participation, consider the principles of citizen science suggested by the European Citizen Science Association and the questions below:

Five questions before joining a citizen science initiative

1. Can you contact the researchers and the institution(s) they belong to with your questions and concerns?
2. Is the research approach clear to you? In order words, is it clear to you what happens to your contribution, how it shapes the investigation and what new knowledge is expected?
3. Is your privacy protected? In other words, is the privacy policy clear to you, including how you can opt out any time and be sure that your data are deleted?
4. Are you contacted regularly about the progress of the research you are contributing to?
5. Are you gaining new transferable skills, new knowledge, insights and other benefits by participating in the research?

Further reading:

Bicker, A., Sillitoe, P., Pottier, J. (eds) 2004. Investigating Local Knowledge: New Directions, New Approaches. Aldershot : Ashgate.
BL Shelfmark YC.2009.a.7651, Document Supply m04/38392

Citizen Science Resources related to COVID-19 pandemic (annotated list) https://www.citizenscience.org/COVID-19/
[Accessed 18th June 2020]

Curtis, V. 2018. Online citizen science and the widening of academia: distributed engagement with research and knowledge production. Basingstoke, Hampshire: Palgrave Macmillan.
Available as an ebook in British Library reading rooms.

Open University. 2019. Citizen Science and Global Biodiversity  (free online course) https://www.open.edu/openlearn/science-maths-technology/citizen-science-and-global-biodiversity/content-section-overview?active-tab=description-tab
[Accessed 18th June 2020]

Sillitoe, P. (ed). 2007. Local science vs global science: approaches to indigenous knowledge in international development. New York : Berghahn Books.
BL Shelfmark YC.2011.a.631, also available as an ebook in British Library reading rooms.

Written by Andrea Deri, Science Reference Team

Contributions from Polly Russell, Curator, COVID Chronicles, and Phil Hatfield, Head of the Eccles Centre for American Studies, are much appreciated.

The British Library is joining in the International Day of Women and Girls in Science, celebrating and raising the voices of women in science with a one day mini festival. Our events and talks will encourage you to laugh, sing and think. Every few days this blog will look in more detail at the participants and their involvement with the event.

From 1pm drop in to our free Entrance Hall sessions, including fun scientific presentations, hands-on activities and a chance to create your own (bio)selfie using the bacteria swabbed from your cheek. There’s something for all ages and levels of science knowledge. See the full list of activities here.Then join us for an evening of talks to hear from women about their experiences of working in the sciences. This is a ticketed event and tickets can be purchased from our website.

The British Library holds one of the most comprehensive national science collections in the world, ranging from ancient manuscripts grappling to understand different aspects of the world, prior to the development of science as we know it today, to the latest scientific publications deposited at the Library through the electronic legal deposit every day. The British Library preserves the UK scientific record, supports scientific research and enables access to science for all, which includes supporting equality and diversity in science. During 2020 the Library’s exhibition Unfinished Business: The Fight for Women's Rights will be looking into the struggle for women’s rights in all walks of life which includes an ongoing struggle for equality in all areas of science, technology and engineering. The WISE Festival is an opportunity to start our reflection on women’s rights and to celebrate the achievements of women in science in a way that we hope will be fun, inspirational and thought-provoking.

Join us next time to find out more about Sunetra Gupta.

WISE (WOMEN IN SCIENCE EVENTS) Festival, British Library 11 February 2020.
www.bl.uk/events/wise-festival

The British Library holds the personal archive of W. Ross Ashby - psychiatrist and expert in cybernetics (the study of the control of systems using technology). In this guest post Hallvard Haug, postdoctoral fellow at Birkbeck, University of London, examines the figure of W. Ross Ashby and his key invention the homeostat - a machine capable of adapting itself to the environment. A shorter article on W. Ross Ashby is featured on the British Library Untold Lives blog.

Ross Ashby (1903-1972) was a central figure of the post-war cybernetics movement in the UK, especially due to the popularity of his books Design for a Brain (1952) and  An Introduction to Cybernetics (1956). Ashby kept a thorough record of his thoughts throughout his adult life, and a collection of his papers has been donated to the British Library by his family.

Photograph of W Ross Ashby taken in his office 1963, Biological Computing Laboratory, University of Illinois. Copyright the Estate of W. Ross Ashby. www.rossashby.info

The centrepiece of the collection is Ashby’s notebooks which he kept from 1928 up until the year of his death. Among students of cybernetics these are legendary, and for good reason. Over the course of nearly 50 years, Ashby took meticulous stock of his thoughts on the material nature of the brain, and the notebooks show the workings of a highly systematic and deeply creative mind. Written in a precise hand, the journals brim with insights, speculations, calculations, graphs, drawings, newspaper clippings and circuit diagrams. Ashby also kept a meticulous topical record complete with content pages, cross referencing, summaries of entries, as well as two different sets of indexes — also included in the collection (Add MS 89153/27-30). Eventually, the notebooks ran to 7189 pages and spanned a total of 25 volumes.

Journals 18-25 with handwritten labels including page numbers (

At first, the notebooks were a pastime; eventually, however, the ideas Ashby explored became original enough to be publishable and in time these notes became the focus of his working life as his cybernetics work. The most famous of his innovations was the homeostat, a machine which demonstrated and embodied his theory of learning and adaptation in a mechanical apparatus which, entirely on its own, regains stability when perturbed. The development of the homeostat is documented thoroughly in the notebooks, from its first entry on 19 November 1946:

"I have been trying to develope [sic] further principles for my machine to illustrate stability, + to develope ultrastability" (Add MS 89153/9).

In the coming years, it was the centrepiece for his cybernetic activities.

The homeostat — a bulky and somewhat baroque machine built from military surplus parts — had a single purpose: to regain stability in response to perturbations in its environment. It is hard to convey precisely how the homeostat worked: set up as four identical units connected to each other via electrical inputs and outputs, each unit was topped with electrically conducing vanes dipped in water troughs. Like oscillographs, the vanes moved back and forth in the trough, reacting to the electrical input from their environment — the output from other blocks in the setup — and each block had an electrical output determined by the position of the vane in the trough. If the vane was directly in the middle of the trough, the electrical output was zero; if, however, it was positioned any other place in the trough, it provided electrical output to the other blocks, affecting the positions of the vanes it was connected to. Thus, when the machine was set in action by pushing a vane out of position, the vanes on all four units would react by moving back and forth, in reaction to their respective environments.

Image of Ashby’s hand drawn diagram for the final version of the Homeostat from page 2432, Journal 11. (

What made the homeostat so interesting, however, was its ability to return to equilibrium once a vane had been upset. Each of the units was constructed to also produce electric feedback to their respective vanes, depending on the conductivity of the vane. This feedback was determined according to a random table, and the machine would cycle through the table as long as the electrical output was not zero. Eventually, however, the vanes, cycling through random states, would come to a halt as each block found the appropriate feedback configuration. For Ashby, the return to equilibrium that the homeostat demonstrated was equivalent to the brain’s — whether human or animal — capacity for learning. The return to equilibrium demonstrated by the homeostat also showed how what only seems purposeful can come about by randomness, and Ashby believed this principle of feedback mechanisms spontaneously restoring equilibrium was a governing principle in nature. Indeed, in 1945 he noted that he had decided to follow in Darwin’s footsteps: like with the homeostat’s return to equilibrium, he viewed a species’ evolutionary adaptation to its environment as a return to equilibrium, and is only apparently purposeful. This tendency towards what Ashby called ‘ultrastability’ was referred to by Norbert Wiener as no less than ‘one of the great philosophical contributions of the present day.’ Eventually, Ashby was invited to present it at the ninth Macy conference for cybernetics in 1952.

Image of the Homeostat taken from Ashby’s lecture slides. (

The influence cybernetics exerted on both the sciences and humanities in the 1950s and ’60s was considerable: its central insights touched upon, transformed and occasionally dominated disciplines ranging from computer science, artificial intelligence and genetics through psychology and sociology, and also influenced intellectual movements such as structuralism. Its universal character gained it great popular appeal, but also meant cybernetics never had a comfortable institutional or disciplinary home, with only a few university departments dedicated to it. Despite its popular appeal, Ashby has remained something of an obscure figure. The autobiographical notebook ‘Passing through nature…’ gives a rare insight into his private thoughts, and suggests that it was at least partly due to Ashby’s reticence towards being in the public eye:

"My fear is now that that [sic] I may become conspicuous for a book of mine is in the press. For this sort of success I have no liking. My ambitions are vaguer.

   I am something of an artist, not with pencil or paint, for I have no skill there, but with a deep appreciation of the perfect. […] I have an ambition some day to produce something faultless." (Add MS 89153/33)

Against his inclinations, Ashby set out to spark public interest in his ideas in the 1940s, and for a brief period the homeostat was the topic both of popular magazines and radio shows, promoted as an ‘artificial brain.’ Ashby kept a record of his success, pasting newspaper clippings in the notebooks. The journals are a treasure trove for insight into the trajectory of ideas: from the premature attempts at precisely stating a problem, to the mature implementation, years later, of a successful theory and its subsequent dissemination.

Hallvard Haug is a Wellcome ISSF postdoctoral fellow at the Centre for Medical Humanities at Birkbeck, University of London. His interest in W. Ross Ashby stems from his PhD research on the history of human enhancement technologies, which included a section on cybernetics.

Further reading:

The British Library acquired the W. Ross Ashby archive in 2003. It consists of notebooks, correspondence, notes, index cards, slides and offprints and is available to researchers through the British Library Explore Archives and Manuscripts catalogue at Add MS 89153. The estate of W. Ross Ashby also maintains a website The W. Ross Ashby Digital Archive which contains digitised copies of much of this material as well as a biography and photographs. It can be found at www.rossashby.info

Andrew Pickering, The Cybernetic Brain: Sketches for Another Future (Chicago: 2010).

Norbert Wiener, The Human Use of Human Beings, 2nd ed. (London: 1989).

Here we reveal the answers of our Lewis Carroll-inspired brainteasers. (The questions feature in a previous blog post)

MAZE

Can you find a route from the outside of the maze to the centre?

DOUBLETS

For each pair of words, can you find a series of words which link them, changing just one letter each time? All links must be real words.

Drive PIG into STY – PIG/WIG/WAG/WAY/SAY/STY

Make WHEAT into BREAD – WHEAT/CHEAT/CHEAP/CHEEP/CREEP/CREED/BREED/BREAD

Raise FOUR to FIVE – FOUR/FOUL/FOOL/FOOT/FORT/FORE/FIRE/FIVE

Prove GRASS to be GREEN – GRASS/CRASS/CRESS/TRESS/TREES/FREES/FREED/GREED/GREEN

Change OAT to RYE – OAT/RAT/ROT/ROE/RYE

Cover EYE with LID – EYE/DYE/DIE/DID/LID

Raise ONE to TWO – ONE/OWE/EWE/EYE/DYE/DOE/TOE/TOO/TWO

Crown TIGER with ROSES – TIGER/TILER/TILES/TIDES/RIDES/RISES/ROSES

DOUBLE ACROSTIC POEM

Each couplet in this poem clues an 8-letter word. If you find all 8 words, their first letters will spell out a word, and their last letters will spell out another word.

They’ll jump off a cliff from a great height, for fun

In a computer game from 1991

LEMMINGS

Just the right tipple for a long run

To match your own chemical composition

ISOTONIC

Lewis Carroll (Charles Lutwidge Dodgson) © National Portrait Gallery, London

Kids won’t touch it - they prefer jam

Sounds like it’s near Lewisham

BROCCOLI

Practise makes perfect, that’s what they say

Regarding the vehicle that takes you away

REHEARSE

Brenda with three Es is feeling pretty

Confused about this northern city

ABERDEEN

Caesar’s troubled by its bite

Maybe a candlelit dinner tonight?

ROMANTIC

It’s almost like there’ll be bows and knots

At the time of year you give presents lots

YULETIDE

First letters spell out: LIBRARY

Last letters spell out: SCIENCE

AMBIGRAMS

Can you devise a rotation ambigram for the word FISH? Or a reflection ambigram for BIRD?

Rotation ambigram for the word FISH (from bigforrap.wordpress.com): Reflection ambigram or the word BIRD  (from ambigramme.com):

OVERLAPPING SQUARES

Can you draw this shape made from three interlaced squares, using one continuous line, without going over any parts of the line twice, without intersecting the line you’ve already drawn, and without taking your pen off the paper?

A DINNER PARTY

At a dinner party, the host invites his father’s brother-in-law, his brother’s father-in-law, his father-in-law’s brother, and his brother-in-law’s father. What’s the smallest number of guests there could be?

Males are denoted by upper case and females are denoted by lower case letters. The host is C and his guest is E. His father's brother-in-law is B or C. His brother's father-in-law is C. His father-in-law's brother is C. His brother-in-law's father is C. Therefore the smallest number of guests is 1, C.

ANAGRAMS 

Can you unscramble these sentences to form relevant phrases?

HELP V. KEEN TRIO OF DAFTNESS - FESTIVAL OF THE SPOKEN NERD

“LESS TOKEN GREENERY”, SHE SANG - GEEK SONGSTRESS HELEN ARNEY

SEE ME OUT, TV’S MISTER EXPLODER MAN - EXPERIMENTS MAESTRO STEVE MOULD

BRB, I HIRE TRASHY LIT - THE BRITISH LIBRARY

I WANTED DEAN IN CD’S SURREAL NOVEL - ALICE’S ADVENTURES IN WONDERLAND

AM AUS, AND ATTEMPT ARITHMETIC PRANK - STAND-UP MATHEMATICIAN MATT PARKER

With thanks to Katie Steckles (@stecks) for compiling these puzzles. Katie Steckles is a mathematician based in Manchester, who gives talks and workshops on maths. She finished her PhD in 2011, and since then has talked about maths in schools, at science festivals, on BBC radio, at music festivals, as part of theatre shows and on the internet. She enjoys doing and writing puzzles, solving the Rubik's cube and baking things shaped like maths.These puzzles furst featured in the Alices Advemtures in Numberland event featuring geek comedy trio Festval of the Spoken Nerd

Alice Kirke investigates the facts behind the fiction of the British Library’s Animal Tales exhibition.

The Animal Tales exhibition at the British Library explores what our portrayal of animals within literature tells us about ourselves. The natural environment and its inhabitants have inspired generations of writers, but how do some of our favourite, anthropomorphised fictional creatures compare to their real-life counterparts? I set out to discover what the science says about the creatures lurking among the pages.

Cats: aloof and independent?

Valued for their companionship, skill in hunting vermin, and role in numerous ‘funny cat videos’ on YouTube, the domestic cat was first classified as ‘Felis catus’ by the Swedish botanist and zoologist Carolus Linnaeus in 1758. The exhibition features French philosopher Michel de Montaigne’s Essays,[1] in which he famously asked ‘When I am playing with my cat, how do I know she is not playing with me?’ People have kept cats as pets for thousands of years. Though they are commonly thought to have first been domesticated by the Ancient Egyptians, who considered them to be sacred, there is evidence of earlier domestication dating from around 9,500 years ago.[2] There are many theories and misconceptions about the behaviour of these enigmatic pets. As predators, cats are very focussed on their environment leading to the common misreading of their behaviour as aloof, and although they are seen as ‘independent’ they are in fact social animals. Cat communication includes a variety of vocalizations as well types of cat-specific body language.[3]

Snakes: slithering and sinister?

A 17th century depiction of Lamia from Edward Topsell's The History of Four-Footed Beasts L.R.301.cc.3.

Snakes have a sinister reputation in literature and culture. In ancient Greek mythology Lamia, the mistress of Zeus was transformed into a terrifying serpentine demon by Zeus’ jealous wife Hera. In Keats’ poem Lamia[4], displayed in the exhibition, the protagonist appears in her beautiful human form before being transformed back into a serpent at her wedding feast. To an extent, this was a comment on science itself; knowledge of the natural world destroyed its beauty.

 Snakes are perhaps so often portrayed as evil in literature because some species are dangerous to humans, but snakes are diverse creatures- there are over 3,000 species of snake in the world, with at least one type of snake on every continent except Antarctica. There is debate among evolutionary psychologists over whether the fear of snakes is innate. Since those with a phobia of snakes would be more likely to stay away from them and avoid the dangers of being bitten, they had a better chance of surviving and passing on their genes. Recent research suggests that although the fear of snakes is a learned behaviour, people do have a knack for spotting them; when shown images of snakes surrounded by objects of a similar colour babies and young children detected snakes faster than other objects.  

Spiders: creepy crawlies?

Frequent scare stories in the UK press about invasions of deadly spiders prey on a common fear of arachnids. There are over 40,000 different species worldwide, and although the vast majority are venomous most are not dangerous to humans. Arachnologists, experts who study spiders emphasise their diversity in terms of their appearance, habitats and behaviour.

Due to their wide range of behaviours, they have become symbolic of various attributes, including patience, cruelty and creativity in art and mythology.  The character of Anansi, a spider who often acts and appears as a man in West African and Caribbean folklore, has taken on a variety of different traits over time. Anansi Company,[5] featured in the exhibition, is a modern version of tales about Anansi and his friends which are central to Caribbean culture.

Crow: cruel or cunning?

The Crow and the Pitcher, illustrated by Milo Winter in 1919

In common English, corvids including crows, ravens, rooks, jackdaws, jays and magpies, are all known as ‘the crow family’.  Ted Hughes’ Crow draws on mythology surrounding the much maligned creature, which is often connected with death.[6] In Irish mythology, crows are associated with Morrigan, the goddess of war and death, and the collective name for a group of crows is a ‘murder’. However, they have also been linked with prophesy, cunning and intelligence. In one of Aesop’s fables, a thirsty crow spied a pitcher containing a small amount of water, which was out of reach of its bill. The crow began dropping pebbles into the pitcher one by one, thereby raising the level of water and enabling it to drink. A 2009 study published in Current Biology which replicated Aesop's fable, found that four captive rooks used stones to raise the level of water in a container, allowing a floating worm to move into reach, showing that the goal-directed behaviour of Aseop’s crow is reflected in actual corvid behaviour. European magpies have demonstrated self-awareness in mirror tests, and crows and rooks have been shown to have the ability to make and use tools, previously regarded as a skill specific to humans and a few other higher mammals. This scientific research suggests that crows are one of the most intelligent animals in the world.

Animal Tales showcases many more familiar yet enigmatic creatures. The wealth of material in the Library collections can be used to trace animals in literature as well as the latest scientific research about their characteristics- come and see the exhibition and follow up with some research into your favourite fictional beasts!